No matter how polished the appearance is, there remains an underlying feeling of watching an unsure director cautiously dipping toes in play-it-safe waters.

(The behind-the-scenes talent) squandered the value of their reputations by coasting into a minimal effort production easily confused for a film by creators with one-tenth of the collective résumé.

This movie is a minimal effort lob at the hoop demonstrating an out-of-touch sensibility for what horror audiences want from contemporary entertainment.

What it comes down to is how much, if at all, someone wishes to slog through another version of a movie already seen.

A striking visual style makes “The Dead” a little more than “just another zombie movie,” while its threadbare story and wooden characters keep it out of any category that includes the work of Romero, Fulci, Boyle, et al.

“Godzilla” is perplexingly resolute in treating its star like the Ark of the Covenant, unwilling to offer a full-view peek for fear that it might melt the face of anyone who stares too long.

“The Pact II” is as effectively managed a sequel as one could reasonably expect without the original creator returning to steer the ship.

It is difficult to muster enthusiasm for a competent production of an “okay” film when alternative options offer superior paranormal pandemonium for the penny.

Australian indie “Apocalyptic” is an above average take on the frightening theme of faith-based suicide, even if it is light on inventive insight into what motivates such minds.

Beneath the surface of spotty acting and sharp edges ... “Found” has a sinister story with chilling connotations fighting to break free.

"Devoured" bears a tonal quality that makes accurately articulating its strange ability to hold intrigue, despite a deliberately slow tempo, a task easier said than done.

“Shame the Devil” is neither no more nor no less offensive than (an average episode of "Criminal Minds") as a way to occupy 90 minutes of disposable crime-drama entertainment.

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.