Caught up in keeping its style unadventurous, “Howl” nevertheless fills the function of a standard werewolf thriller, provided no mind is paid to recycled predictability.

“All Hallows’ Eve 2” is a collection of disparate shorts having nothing to do with a common theme, or even with each other, dating as far back as 2004.

To watch “#Horror” is to have the passive experience of seeing awful people regard each other cruelly, with affluent boredom as an explanation for bad behavior.

It is the kind of film made to satisfy a spot in a schedule and fill a production order for something “ok” to be filler on a SyFy Saturday night.

It’s important to stress that the film’s interest is in exploring the second word of its title, not the first.

“Robert” is no scarier than a booger and is about as desirable for something you would like to have in your hand. Thankfully, it is just as easy to flick away and forget.

“Scouts Guide to the Zombie Apocalypse” just might Pied Piper a pessimistic predisposition away from a harrumphing Hamelin and into a realm of unexpectedly enthusiastic affinity.

“Last Shift” is simply more flash than fire, and that’s the real reason why it gives off heat without burning a scorching impression.

Including a pointless personal journey as an add-on narrative along with questionable cutaways distracts the documentary from developing memorable takeaways.

What this movie actually is, a “good enough” popcorn fright film, is off book with the usual agenda or expectations of a “Paranormal Activity” movie.

“Deathgasm” is reverential with its satirical winks and so slyly smart about sophomoric silliness that it cannot help but be charming.

Fresh, funny, irreverent, intelligent, sarcastic, sly, this sentence does not have the space to include all the adjectives fit to describe the gamut “Assassination Classroom” runs.

Whatever idea you have in your head, odds favor that “Goodnight Mommy” is probably not the movie you’ve prepared for.

One can either be offended/repulsed by imagery of tribal villagers salting severed limbs and boiling a human head with an apple in its mouth or chuckle amusedly at the absurdity of it all.

The movie has nowhere to go but into the burn bin of indistinguishable “found footage” flicks about haunted buildings.

This is a case where overseas origins provide an imaginary edge of avant-garde exoticness the movie doesn’t fully possess.

Even at barely an hour, “Night of the Living Dead: Darkest Dawn” is excruciating to sit through.  Rubbing your retinas with steel wool would be less painful on the eyes.

“Estranged” has more than its fair share of intrigue and unexpected turns, but there is succinctness in its story making its terror frighteningly down-to-earth.

By overlaying the middle class melancholy with the landlord’s lurking threat, “13 Cameras” puts a fresh coat of paint onto otherwise average plotlines.

“The Girl in the Photographs” shouts loud enough to be heard above the slasher movie din while its echo may not reach all the way through the ears.