“Silent Night, Bloody Night” is an unusual mix from a time when dramatic theatricality went beyond snarky one-liners and creative kills.

The hodgepodge of varied ideas is so mismatched that it has to be asked, who is the target audience for “20 Ft. Below?”

“Bloodlust!” delivers satisfying late night chiller charm that is surprisingly daring for an overlooked sixties schlocker unjustly derided as a campy disappointment if it is even remembered at all.

(Paz de la Huerta), like ("Nurse 3D"), can remain hotly debated on a quality level, but denying the way that both demand eyes to be turned towards the screen is a much harder argument to win.

It is difficult to conceive of a pitch meeting where the studio didn’t ask, “how is this any different than Rosemary’s Baby?” and the filmmakers weren’t caught with the only possible response of, “well this one is shot as found footage.”

Could “I, Frankenstein” really be as disappointing as its 4% rating on Rotten Tomatoes would suggest? Yes and no. Although mostly yes and only a little bit no.

It may have needed another helping hand from a dark streak of black comedy, but a cleaner execution, a sleeker script, and an intelligible lead could have made all the difference in making “Deranged” better than it is.

When it is all said and done, “Fields of the Dead” ends only after confusing the story to a point that would blow a robot’s brain with a “does not compute” error.

Here is a film critic quote that is 100% unaffiliated with the production, 100% honest, and 100% accurate: “The Hospital” is terrible.

... the movie is at best a decent enough 80 minutes of action only for those who just need bursting bullet squibs and stuntmen flying into things to be entertained.

“Scorned” is an entertainingly trashy mix of soapy Lifetime drama and sleazy Cinemax sexiness in service of a guilty pleasure revenge thriller with B-movie appeal.

“Heretic” starts with a veneer of being a smarter than average thriller until a snail’s sprint to an uninspired final revelation solidifies the film as fairly routine horror fare.

“Haunting of the Innocent” is a movie with unique ideas for a thriller centered on Norse mythology that buries itself under slow mounting exposition with a shovel of mismatched framing devices.

“Grand Piano” is the type of impossibly preposterous thriller setup that can only exist in the movies, but then, that is exactly the type of story that movies are meant for telling.

It is a slow story with unpolished edges in its delivery, but “The Invoking” is far from being a phoned-in effort from filmmaking newcomers putting their hearts into a film that costs less to make than it does to buy a pre-owned Toyota.

... this is one of those movies where once it drops out of the New Release section of VOD streaming and DVD listings, it may as well disappear from planet Earth entirely.

If “Spinal Tap” is the Titanic striking a comedy iceberg in a thunderous crash, “Incident” brings that iceberg on board to melt at a steady pace.  It takes more effort to notice the rising water, but passengers end up wet all the same.

The only thing disregarded more than the material being ripped off is the willingness of an audience to sit through a movie too lazy to stay on the line even when it is just phoning it in.

There might be just enough edge in the soap opera styling to make it mildly worthwhile as a period police procedural with a tawdry courthouse conclusion.

Completing the quadfecta of insulting homage is a climax so brazen that the film ends on an impression that everything offered is a patchwork quilt stitched from other people’s ideas.