With “Roadside,” it doesn’t appear as though writer/director Eric England has anything more in mind than to aim for mediocrity and barely hit the bullseye with a plop.

What they record results in a head-on collision of the “found footage” and demonic child subgenres, leaving “Infernal” to beat two dead horror horses with one limp stick.

“Hooked Up” is only 70-something minutes long, yet cannot find material to fill that space that isn’t annoying, boring, or both at the same time.

“The Final Girls” doesn’t just point out tropes with a wink ... it plants well-worn chestnuts into clever setups before seeing them through to funny, original punchlines.

Although bookended by a pair of frightful sequences, the main meat of “Hangman” is almost completely devoid of anything genuinely nerve rattling.

This is how “slow burn” takes an intentionally torturous wick to a violently erupting conclusion with true efficiency and exhilarating effectiveness.

"He Never Died" is undeniably a Henry Rollins highlight reel and in that regard, no fan could ask for a finer showcase of his unique onscreen presence.

"Pod" is a dish best served cold, with limited foreknowledge and without expectation for anything more robust than a lean, mean blend of paranoid thriller and what’s-behind-the-door suspense.

“Unfriended” ranks alongside “Ouija” in terms of being entirely forgettable, yet nonetheless in possession of mass appeal for an undemanding set whose ages begin with the number one.

As a love letter to everything gruesome, gleeful, and glorious about 1980s genre movies and popular culture, “Turbo Kid” is engineered specifically for maximum midnight movie madness.

The final picture put together by “The Diabolical” is one of a classically creepy chiller with a sleek streak of sci-fi suspense.

“Excess Flesh” takes on a hypnotic tone capable of capturing those sensitive to its messages about a perilous sense of self and the feverish pursuit of unhealthy ideals.

“Ava’s Possessions” brands its black magic mark using curious characters, vibrant visuals, and smartly stylish storytelling.

“Zombieworld” is a “Creepshow 3” caliber anthology whose pieces have no relation to one another aside from the inclusion of shambling corpses and a near complete absence of frights, fun, and quality.

“The Intruders” boils down to another log for the pile of formulaic thrillers better suited as midweek made-for-cable filler.

Eclectic and occasionally eccentric, the overall vibe is more of a drunk stumble between serious and comical without threading a needle through a sweet spot that would effectively blend both moods.

“Wyrmwood” strips out the social commentary of Romero’s oeuvre and the dark despair of “The Walking Dead” in favor of flair, flash, and cinematic style.

It’s a catch-22 approach shooting the entire affair in its foot, heart, and head with a script and a style too simple to provide any more edge than that of plastic tableware.

The film’s crowning achievement is releasing just two weeks into January and already becoming the candidate to beat as worst movie of the year.

“Alien Outpost” ticks plenty of boxes for bullet-pumping action with a satisfying shot of sci-fi tracer fire laser-lighting the screen.