A snickering good time for Lovecraft fans who won’t find sacrilege in seeing the grandmaster’s literary oeuvre repurposed for salaciously sex-oriented horror hijinks.

“The Death of Superman Lives: What Happened?” remains a cornucopia of “what if” scenarios certain to tickle a touchstone of nostalgia for 90s superhero cinema.

Despite borrowing part and parcel from an overly familiar “found footage” formula, “Always Watching” deviates from tried-and-true patterns in ways that are not for the better.

Not only is its empty message outdated and untimely, “L.A. Slasher” is unfunny as a comedy and not frightening as a horror film.

It would be unfair to single out any performance in particular as amateurish, since the acting across the board is uniformly terrible.

“Inner Demon” ... needs an adrenaline shot to its average midsection to pick up the pulse and give audiences a standout reason to sit up and take notice.

“Dig Two Graves” is a rare genre drama that strays from sentimentality to deliver a suspenseful story executed with powered precision.

Director Eytan Rockaway sticks to a template of tried-and-true tactics to make a competently crafted slow-creep chiller, albeit one that would benefit from a more original edge.

“Caught” is what a Lifetime thriller would look like if a tranquil John Waters tried turning the network’s brand of suburban suspense into an almost R-rated black comedy.

“Intruders” makes up points as an original spin on the home invasion theme, functioning better than most for delivering home alone on a late night chills.

Miguel Llanso has created a nontraditional, unconventional film unlike anything seen before.  But to achieve what end, I’m not sure even he can say.

“Ratter” is a failed attempt at a cautionary tale about how our modern technological conveniences are supposedly just tools for madmen to torture us.

I get that “Dude Bro” is half of the movie’s title, but the unendingly obnoxious macho growling and bizarre habit of yelling dialogue overplays the “brah” angle into utter irritation.

Things just don’t quite coalesce into a tone that can hit hard on the horror while still staying humorous at the same time.

“21 Days” cribs the crux of its content from “Paranormal Activity” and “The Blair Witch Project,” with a healthy portion of “The Amityville Horror” filling in the backstory for good measure.

There isn’t enough substance for those fascinated by the sleep paralysis phenomenon to engage with an interest level running any hotter than barely mild.

“All I Need” opens with intrigue before its legs buckle from the burden of fitting a circle A plotline into a B story hole.

Each existing reason to be frustrated with how “Sun Choke” gradually burrows beneath the skin through ambiguity is also a reason to be fascinated by its unconventional style.

“Some Kind of Hate” has its sights set on mood and meaning over empty scare tactics, setting it apart in the subgenre as a more mature supernatural teen slasher.

This second sequel is less about being conceptually disturbing and more about being some weirdo hybrid of “Oz” meets “Garbage Pail Kids” for visceral value alone.