"Veronica Mars" delivers a final product that respects the franchise, respects the fans, and gives everyone the movie that they both wanted and that they deserved.

The crime thriller appeals to one sensibility, the mindless vampire violence appeals to another, and the whole shebang appeals to anyone with no preference towards either one of the two.

“House of Good and Evil” is a psychological thriller about one woman’s slow descent into madness that emphasizes the slow while forgetting about the thriller.

The changeup from fright flick tinted by dark comedy to straight horror ... begs the question, what makes this a “Cabin Fever” movie other than the title?

A bigger budget and a more developed design could have made “The Human Race” a devious take on the kill or be killed scenario, but the final product is instead a case of could’ve, should’ve, didn’t.

“A Field in England” involves five men engaging in dream fantasies inspired by the consumption of hallucinogenic mushrooms and I suspect that full appreciation of what Ben Wheatley means to accomplish might require an audience to do the same.

Since its debut at Sundance in 2013, “In Fear” has garnered poster-worthy praise like “chilling,” “instant classic,” and “one of the best horror movies of the year.” ... My one-word sound bite to describe “In Fear?”  Annoying.

“The Den” understands how to make the “found footage” format an organic character of its own, rather than a cheap medium to record a story that could have been told any other way.

After seeing Teddy Roosevelt with buffed-up Popeye arms firing a laser cannon at mechanical Martian invaders, it becomes apparent that “War of the Worlds: Goliath” has fun ideas.

While not fully satisfying, “Cabin Fever 2” is actually an irreverently humorous gorefest high on entertainment value even when it is deficient in sense and structure.

“Cabin Fever” reflects a tone that is gruesome above all else, but relieved with enough quick pinpricks of humor to make for a mood of not-so-serious horror entertainment.

“The Returned” is a uniquely intelligent movie intent on proving that there is still new life to be found in a genre about the dead.

“Dead Shadows” never takes a rake to its dirt bed, which is definitely a missed opportunity, but there are seeds of inspired cinematic ideas to be found buried within.

“The Visitor” no longer has to be taken as the serious achievement it was meant to be at inception, and can instead be enjoyed as a wonderfully weird curiosity of nearly epic proportions.

... if you can look past tearing seams in the visual effects and an occasionally spotty structure, a solid story and a splendid cast make “Sparks” a surprisingly entertaining superhero alternative to summertime Cineplex fare.

... there is no mistaking the throwback vibe of “Invasion of the Body Snatchers” meets “The Thing” that triple threat writer/director/producer Joe Begos wishes to evoke with his debut feature.

While my appreciation of the film’s merit has increased marginally, my conclusion is still that “Here Comes the Devil” is an over-interpreted example of ambiguity confused for artistry.

It makes sense that Cristian Toledo and Lucio A. Rojas are the writers, directors, and producers of “Zombie Dawn” because it is difficult to imagine them being able to get anyone other than themselves interested in their project.

“Holy Ghost People” appears to position itself as a psychological thriller when it is really a character study about purposeless people struggling to change that descriptive adjective.

“Patrick: Evil Awakens” walks in stride with its predecessor while adding a new layer of appeal for audiences accustomed to the increased visual shocks and faster step of 21st century horror.