“Hunting the Legend” has little to show for originality or wow factor, but it does have respectable heart from filmmakers wisely avoiding a reach beyond their means.

... what we have instead is a “nothing more, nothing less” movie about two handfuls of nondescript characters patiently waiting their turns at being eaten alive by a monster with no purpose other than to rend human flesh.

By its end, “Alpha Alert” settles into a groove as an average thriller with a few minor highlights, yet no compelling reason to ever watch or mention it again, if it is even worth seeking out the first time.

“Avenged” has something to say about predatory behavior and racism, and says it in a way that is respectful of the content while remaining effective as horror entertainment.

By concentrating on strong scripting and well-plotted design that can outmatch the restrictions of its production scope, “Absentia” never steps outside the reach of its modest capabilities.

“Petals on the Wind” concentrates on being exactly what it intends to be from the word go: unashamedly trashy, which is exactly what the audience wants it to be.

Unsettling music, astounding atmosphere, and a shocking final shot bring everything together in a way that what doesn’t work seems irrelevant.

For those with more lenient tastes towards micro-budget indies, “Dark Vision” has enough pure intentions at heart that it can still play as an earnest homage to Gothic British horror.

Paring “The Twilight Zone” down to 17 core half-hours that authentically represent the series’ best aspects is a fitting tribute to an all-time classic and the perfect way to relive truly timeless television.

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.