In all probability, if the film had a recognizable face and aired on SyFy, people would watch it and say, “eh, it was okay I guess.”

An awkwardly unconvincing British accent notwithstanding, “The Last Showing” is a terrific showcase for Englund’s unique screen presence and performance prowess.

This “easy does it” style of subtlety keeps “Shock Value” cooking on a steady simmer of oddly fascinating absurdity and unsettlingly moody weirdness.

Lionsgate sets out to pump fresh juice into the veins of a franchise lying dormant for a decade, yet think to do so by employing the most lifelessly uninspired horror movie clichés imaginable.

“Devil’s Mile” is a film rooted in surreal unreality, yet there is no indication of conscious thought behind what anything’s intended purpose is or how it pertains to a discernible, unifying theme.

“Wer” wants so badly to be weighed as a “realistic” take on the werewolf mythos that it ends up being unrealistic with how common conceptions are conspicuously avoided on both sides of the camera.

This isn’t bad acting and uninspired filmmaking winking with post-modern irony. It’s just bad acting and uninspired filmmaking.

Filmmaker Mike Davis recuts, rewrites, and redubs the kitchen sink soup to produce a surprisingly smart send-up of American culture, political chutzpah, and the entire medium of film itself.

The film does evoke some of Hammer’s hallmark gothic gloom, yet “The Quiet Ones” never manufactures a jolt that isn’t induced by a quick cut or ear-covering audio.

With so many scenes of sleepy-eyed sulking set to hypnotic hums while everyone onscreen lounges about, the film is a virtual dare to not fall asleep after becoming entranced by excessively depressive despondence.

As simple a goal as crafting a poor man’s “Alien” might be in theory, it is still a much bigger bite than “Crawl or Die” has the teeth to chew.

Its arthouse indie shine goes from working for to working against when the film lets every thread wander as far as it wishes for as long as desired.

“The Damned” is the sort of ho-hum horror where some indeterminate amount of time later, your memory will be unable to recall if you actually saw it or not.

This is a love letter written to the series as well as to a passionate fanbase hungry for a proper way to honor their favorite program’s half-century birthday.

Those who still cannot shake the sickly feeling of evil crawling on the underside of the skin left by “The Pact” will find “At the Devil’s Door” lingering long in the mind in a suitably similar way.

You might think you've seen this movie countless times before, (but) “The Possession of Michael King” is a smarter, more sinister take on a demonic possession tale.

With “Livid,” co-directors Julien Maury and Alexandre Bustillo opt to craft an open-to-interpretation dark fairy tale rooted in Guillermo del Toro-like horror fantasy.

It is hard to imagine that “Jersey Shore Massacre” does not meet whatever expectations might come with the concept.

“The Purge” was a narrowly concentrated home invasion horror. “Anarchy” expands that universe by taking the Purge onto the streets for a more open world look at the widespread effects of the concept.

With only overused gross-outs to fill in the blanks, the film doesn’t offer enough personality to fulfill the promise of its off-the-wall premise.