The film remains ball-and-chained to a delivery format that hamstrings the rhythm and to fiction impenetrable for anyone who hasn’t already invested three hours into “Haunting Melissa."

Good-natured, good-humored, and well-intentioned, “Wolfcop” still spins its wheels by pumping blood leisurely when it rightfully screams to gush straight out of the vein.

You wouldn’t tolerate “Haunting Melissa” as a three-hour movie in a traditional format. Why tolerate it as a buggy app requiring countless mobile device restarts and popup prompt dismissals?

Should anyone need affirmation as to why “found footage” has an unfavorable reputation, “Sanatorium” can punch that ticket with commanding force.

“Final Prayer” surpasses the bulk of its “found footage” brethren with enough murky moodiness and devilish darkness to make itself memorable.

“Dracula Untold” casts the count as a swordfighting head of state hero in a chatty movie burdened by “Game of Thrones” political machinations and “Lord of the Rings” steel clanging.

Who needs a mutant or an Avenger when a CGI raccoon and a semi-sentient tree can infuse this much personality into a movie already bursting at the seams with it?

Seeing Tom Sizemore play a standard tough guy gunman in a straightforward creature feature is akin to watching Kareem Abdul-Jabbar play charity basketball on the island of Lilliput.

The glitch effects become a beyond belief distraction, turning “Daylight” into a frustratingly annoying viewing experience begging to be disliked.

While diehards will be pleased to see Tim Thomerson and Helen Hunt in their “Trancers” prime, the reality is that “City of Lost Angels” doesn’t register as much more than a brief blip on the radar.

Whether trashing train tracks or inspecting bloody wounds with incredulity, “King Kong” is always focused on its star’s personal odyssey throughout the ever-escalating action.

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.