“Late Phases” ends up making a place for itself at the top of the list of werewolf movies least desirable for a repeat viewing.  And that is a disappointment indeed.

Thumbs up to Paco Plaza and the [REC] team for putting all their chips behind the line with an aim to reinvent their series before it goes stale. Too bad they rolled a seven.

“[REC]2” does not have the sustained intensity of the original, but it occasionally finds ways to shake the senses in spite of its muddled concept.

“The Birds” might have benefitted from a notch or two of belt tightening, but (it) can still affect the most fearless viewer, even if it is more than half a century later.

“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.