If there was ever any contemporary horror movie whose core content is not conducive to being refashioned for popular consumption, it is “Martyrs.”

The eight films in “The Labyrinth” are among the most technically accomplished and entirely engaging shorts a genre fan will ever see.

Never has a film been unenjoyable enough to warrant walking out of a theater mid-movie, but “Condemned” fought hard to be my first.

“Game Changer” is a marshmallowy nostalgia piece driven more by marketing than any desire to delve deeply into the series’ inner machinations.

Lean, clean, and compact with more motivation than most, “The Unraveling” is a refreshingly respectable piece of streamlined suspense cinema.

Sights and sounds are just odd enough for “Naciye” to deliver the kind of subtle strangeness that western audiences can only get from a suspense thriller made in Turkey.

By-the-book, by-the-numbers, run-of-the-mill, or however else it can be hyphenated, “Curve” is as conventional as thrillers get.

With slasher masks off and one-liners silenced, “Martyrs” reminds how horror can be escapist entertainment without being entertaining in the traditional sense.

Once swirled into its style, “The Blackcoat's Daughter” is darkly entrancing.  See through that style however, and the fiction doesn’t stand all the way up.

“The Mind’s Eye” is straight-up psychic horror aiming intentionally for wall-to-wall, ceiling-to-floor, and then obliterating-the-entire-room action entertainment.

Overflowing with character in its cast, setting, scripting, and tone, “Bone Tomahawk” easily earns its place as one of the 21st century’s most memorable modern westerns.

Add in an unavoidably amateur aesthetic and no matter how many macabre moments the movie manages, nothing gives cause to shout, “this demands to be seen!”

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.