Its streamlined approach to slick slasher style can still tickle a palate in the same way that a wine snob enjoys a slug of Charles Shaw when no one is around to judge.

Countless imitators have laid claim to being a throwback 80s slasher homage with an authentic retro feel, but “Lost After Dark” is the real deal.

If the tales told are to be believed, then Art Nelson may have been the most interesting miscreant to ever darken the backstreets and alleyways of Tinseltown.

“I Survived a Zombie Holocaust” isn’t a fresh enough concept, and ... you won’t be reaching to put your copy of “Shaun of the Dead” into the trash bin anytime soon.

“Refuge” is what the standoff between Tom Savini’s motorcycle club and Ken Foree’s quartet would be like if there weren’t shambling corpses banging into the glass doors of the Monroeville Mall.

“Suburban Gothic” carries a vibe of what a Scooby-Doo mystery might be like if it was drunk on Maker’s Mark and fueled by a Pixie Stix sugar high.

“Dark Was the Night” doesn’t break the monster movie mold, but does fill it to capacity with eerie atmosphere and creeping chills elevated by terrific acting.

“Preservation” is a tightly executed take on the hunted becomes the hunter theme, but there is no getting around the nagging notion of having seen this same scenario several times before.

This is what happens when filmmakers use antiquated notions that went out of style in 1980s slashers as benchmarks for how to make a horror movie.

Keeping things so simple in terms of content and execution means “The Haunting of Alice D” doesn’t pack many surprises for genre diehards looking for fresh spins on old ideas.

Really, the most accurate way to describe “Werewolf Rising” is simply, characters sort of moving around, not really doing anything, and then a werewolf attacks.

For someone who hasn't overdosed on similar films such as “The Strangers,” “You’re Next,” or “Torment,” “Berkshire County” might be downright terrific.

Paired together, Stewart and Rae just don’t work as protagonist and antagonist. And since they don’t work, neither does “Zugzwang.”

Wrapped all together, the movie doesn’t work as a total package, cheapened somewhat by the less engaging plot points and distractions with the staging.

“Time Lapse” satisfies on every level.  As a character-driven drama.  As a sci-fi social allegory.  And as a smartly-scripted, deftly-delivered piece of mindbending entertainment.

As you can already deduce from a film featuring a long lost twin brother as a red herring, don’t expect to be bowled over by originality or a sensible story.

The story’s framing is not as buttoned up as it could be, but for a sci-fi spectacle on a shoestring, the execution is impressive.

“Nightmare Code” is a stripped-down cerebral suspense story ... But don’t allow outward appearances to fool you into thinking that it is without thrills.

I’m not even sure if I should review “Shhhh” at all, because I don’t fully understand what the purpose of this movie even is.

Once you move past its surface appeal as Cineplex entertainment, “Horns” has far more to offer as a wickedly inventive take on Shakespearean tragedy melded with crime noir.