This is a unique case where a movie reads far better for having a quarter-century gap between production and public consumption.

There is so much bizarreness in “Day of the Mummy” that it might make for weirdly fascinating entertainment if it weren’t so ploddingly boring.

“Basement” is too goofy to be in the same league as its darker drive-in brethren, and too boring to ever warrant a second trip inside its not mysterious enough walls.

“Trophy Heads” requires grading on so many curves that a visualized review score would resemble an Ouroboros looping in a figure eight.

I can’t think of what I could possibly want from a “found footage” horror film about urban archaeologists exploring Dante’s Inferno that “As Above, So Below” doesn’t have.

“Feed the Gods” is a fine enough film for what it is, but its cruise control speed keeps it coasting in territory that is never truly thrilling, and not original enough to stand out.

From the truncated runtime to the non-sequitur storytelling, “Mercy” evidently went under the editor’s knife for a hefty amount of tinkering, likely more than once.

“Big Driver” can’t help but be snipped somewhat when presented in a made-for-cable format that shortchanges supporting roles and relies on TV tropes to ensure it reads as a Lifetime movie.

Instead of looking for heat from the first match strike and a fiery flame, those who let the wick wither and light the room with subtle atmosphere will find their patience rewarded.

Gomez-Rejon and Aguirre-Sacasa made a movie that is part sequel, part remake, and part meta-fiction, yet so vague about defining its combined DNA that it is undeniably “The Town That Dreaded Sundown.”

“The Town That Dreaded Sundown” is what “Zodiac” would have been like if instead of David Fincher, it was directed by the man who made “The Legend of Boggy Creek.”

“Hangar 10” is the embodiment of everything that gives “found footage” its popularly unfavorable reputation ... It's a start to finish snore.

Director Adam Robitel and co-writer Gavin Heffernan douse their diving board in a quality cast, an imaginative story, and high caliber creeps to concoct an original take on both tropes.

This is what a 1960s satanic thriller looks like when painted with a fresh coat of 21st-century cinematic sensibilities.

The horror is so hollow that “Ouija” never does anything more than sleepwalk through the motions of being a mediocre movie.

“Jessabelle” is a good old-fashioned alone-in-the-dark ghost story highlighted by talented performers, rich cinematography, and a screenplay built on clever surprises and tautly delivered chills.

This is how creative filmmakers mold meh material into a movie that audiences will talk about after, regardless of how they may have felt about the film itself.

You name it, “Hollows Grove” has it.  That is, as long as you don’t name anything like interesting backstory, compelling characters, or original ideas.

25 years from now, “The Butchers” might well fit as the type of midnight movie where audiences marvel, “can you believe people actually made movies like this back in 2014?”

While “The Killer Shrews” bears enough snicker-worthy moments to have earned itself a lampoon on MST3K, the truth is that it’s not that bad, not particularly good, just somewhere in between.