“Alien Abduction” borrows too heavily from a familiar formula for a story that never fully capitalizes on the uniqueness of its premise.

("Locker 13") makes for a refreshing alternative to the macabre madness, blood-soaked monsters, and paranormal hauntings of (other anthologies) by keeping a level head that still retains enough twists and chills to be suspenseful and entertaining.

“That Guy Dick Miller” settles for being a loose collection of somewhat related notes and anecdotes that don’t reveal nearly as much about Dick Miller as they should.

“Twisted Tales” puts forth the perception that Holland felt a quick and dirty webseries produced on the cheap did not require an A game.

Take it as anything more serious than popcorn entertainment originally intended for small doses on a computer screen, and you are doomed for disappointment.

“The Guest” ends up as less of a fully satisfying film and more of a passport for Wingard, Barrett, and the cast to run wild in a well-crafted, but somewhat empty playground.

The top to bottom roster of exceptional talent shines brighter than the wobbled rhythm, giving “Faults” at least one undeniable asset that no reviewer could criticize.

Despite the miscues on social commentary and a slow-rolling first half, “Honeymoon” still manages to strike a sickly tone of eeriness.

Gerard Johnstone crafts a smart and fun slice of frightful suspense that finds just the right formula for making screams and laughs blend together effortlessly.

(With "Open Windows," writer/director Nacho Vigalondo) emulates classic Hitchcockian tropes like mistaken identity and refrigerator logic to create a bullet train ride through imaginative insanity.

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

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.