“Full Tilt Boogie” won’t teach anyone anything about how movies are made.  More specifically, it won’t teach anyone anything about how “From Dusk Till Dawn” was made.

In choosing a random “Friday the 13th” movie to watch, no one ever says, “hey, let’s do Part V!”  Unless the person making the suggestion wants to hear a confused response of, “isn’t that the one without Jason?”

"Starry Eyes" makes wise use of the Hollywood dream premise to deliver a frightening fable about compromising one's character in a wayward effort to create a new personality based on presumption.

Simply conceived and executed with precision, "Creep" gives its audience a much-needed excuse to remember how "found footage" can be effective when presented through a personal perspective.

Where it succeeds most is in building a time travel scenario that the audience can trust, and "Predestination" pays back that trust with a devilish twist, satisfying suspense, and highly clever intrigue.

Even if "The Blair Witch Project" got to you, or gave you a boarding ticket for the "found footage" format before subsequently falling off, "Exists" is not the movie that is going to reignite that flame.

"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.