As a psychological thriller, “Hunting” is a belated beat to arrive at a single boo ... and would have been a story more effectively told using a third of its length.

There is a good deal of good content in “Blood Brothers,” but that material is scattered across 98 minutes that don’t hold up as a singularly sensible style exercise.

A superfluous framing device chewing at chapter breaks leans "Chatter" the wrong way, preventing the movie from attracting as many interested eyes as it could have.

First-time feature filmmaker Iqbal Ahmed has crafted efficient and energetic action belying its bank account through fleetness and sleekness.

Actors inexperienced for the task at hand coupled with uneventful act two interludes make “Eyes of the Dead” a more routine zombie film than its premise promises.

The very long fuse on its very slow burn doesn’t lead to the most explosive barrel of TNT tension or terror.

Like its namesake, “Djinn” wanders between two worlds, committed to neither and unable to form any fuller than a shadow of what it once was, or what it could have been.

A heartfelt tribute to horror filmmakers and horror film fans that celebrates everything frightful and everything fun about Halloween and the horror genre as a whole.

Viewers should know upfront that they are not in for a true sequel to “The Invoking,” and they also are not getting an original collection of films commissioned specifically for this project.

It aims to be a simply suspenseful scary movie, which it is, albeit one where beige fights with vanilla as the most fitting way to describe it.

The horror genre has absolutely no use for this movie. Neither do you.

“A Christmas Horror Story” is an entertaining collection of holiday-themed horror shorts that does for December 25th what “Trick ‘r Treat” did for October 31st.

“Clinger” may have a cast and a crew greener than golf grass, but its amateur aesthetic is overcome by sincere intentions to be engaging, emotional, and entirely entertaining.

Separated from the fluff of its disappointing denouement, there remains a disturbingly dark fairy tale in the movie’s core capable of leaving a lasting impression.

If you are somehow able to penetrate the fiction featured in the first 20 minutes of “Fire City: End of Days,” stop watching immediately and apply for Mensa membership.

Trudge up the turtle track of the first two-thirds and “We Are Still Here” rewards with a frenzied flurry of force down the back slope.

The movie’s value beyond straight suspense entertainment comes not from requiring thoughtful reflection, but from inspiring it.

The supposed sexiness of the fling fueling this film is cold enough for frostbite, and nearly as hollow as the nonexistent horror.

A feather could push these people into instantly believing the batty backstory of first man Adam’s first wife Lilith making a pact with Lucifer to become a child-stealing force of evil.

Stalwart Shyamalan supporters may view the scaled-back scope and “found footage” frame as a welcome return to simple storytelling form for the critically embattled filmmaker.