Korean thriller “Hide and Seek” is a masterful movie about being unsafe in one’s own home that doesn’t require killers in creative masks to make you feel uncomfortable.

The Asylum has built enough of a reputation that being named in their credits is no longer the embarrassment it once was. But being a part of this particular disappointment certainly should be.

By the time the script rolls up its sleeves to reveal another layer to the well-worn premise of A.I. run amok, the ridiculous character behavior, cheap production design, and jagged-edged technical execution have already sunk the film.

The movie’s biggest boon is a mood-setting score from Adam Barber fronted by upright bass riffs, plunger-muffled trumpets, and velvet-voiced songbirds warbling tunes that would make Philip Marlowe feel at home.

The movie succeeds because of its cast, but also because its core concept is so strong ... it is this unique approach to a traditional time travel dilemma that makes “I’ll Follow You Down” absorbing as a thoughtful thriller.

The best thing that can be said about “Willow Creek” is that it accurately captures what a real-life Bigfoot hunt would probably be like: completely uneventful and ultimately a letdown.

That Disney specifically chose a director more experienced with computers, carpentry, and green screens than actors, storytelling, and dramatic staging tells you exactly what kind of movie they wanted “Maleficent” to be.

It is more silly than scary that their leader resembles Mickey Mouse emerging drunken and bloody from a DUI-related car wreck.

“Ghost of Goodnight Lane” is a traditionally styled horror film with the usual gags of ghastly mirror reflections, shoulders grabbed from behind, and noisy audio stings.

“The Last Light” starts with a promise that something compelling is in store, but the content is missing the depth required to follow through.

“Jodorowsky’s Dune” is a thematic kaleidoscope about dedication, commitment, semi-structured lunacy, and the herculean effort it takes both mentally and spiritually to conceptualize art in a collaborative medium.

Perhaps with some cleaner digital effects, like a ghost that didn’t look like the hologram message Princess Leia sent to General Kenobi, "Demon Legacy" may have won an upturned thumb on fun factor alone.

“Toxin” looks like the kind of low-budget quickie that was written, shot, and edited in about a week, maybe even just a single weekend.

Serving only as a fractured recap of bullet point details regarding the West Memphis Three, “Devil’s Knot” offers little to move the discussion forward or lay it to rest.

For as much derision as the technical drawbacks and scripting shortcuts earn, the earnest attempt at a legitimate story wins back forgiving favor as a movie that at least has something to say.

“Ghostlight” has a fair enough framework to tell a competent ghost story. But it suffers from ambition that the script, cast, and technical limitations do not have the chops to fully back up.

Buckhalt’s movie is a formula slasher through and through, although what it lacks in originality, it partially makes up for with a sincere spirit behind the camera.

The “let’s see what happens” approach to making a new age noir thriller reads like an auteur working with one hand instead of two, simply to see if he can do it.

I don’t watch very many horror-comedies, but when I do, I like them to be like “Devil in My Ride.”  Which is to say, genuinely funny.

With moderate tweaking to deepen character development, and cleverer motivations to explain some puzzling behavior, “Neverlake” might have been a true stunner.