Radcliffe and McAvoy’s insistence on being better than the rest of the movie makes their commitment worth the watch.

Having experienced this vision of “Frankenstein” firsthand, my own conclusion is that I have no idea what supporters see in this mess of a movie.

2000AD’s tagline is “The Galaxy’s Greatest Comic.” If you don’t already agree with that sentiment, “Future Shock” makes a strong case for the comic’s claim to that title.

Open minds can find a movie that works well as genre-blending entertainment once prejudicial expectations are hanged at the door upon entrance.

“Southbound” goes too far into “Lost” territory by putting vague suspense onscreen and then expecting the audience to invent a meaning behind it all.

Others will find welcome challenges presented by uncommon imagery daring engaged imaginations to comprehend the full fear suggested by its cerebral themes.

So many comedic nuances end up neutered, “Cabin Fever” 2016 isn’t left with a personality standing at the same height as the original.

Every character, every scene, every setup for a scare drowns in an ocean of commonplace convention, watering down everything until any flavor other than ordinary washes away.

Whatever you thought of the first “Ju-On: The Curse,” you’re likely to feel the same about the second.  Mainly because they function as a singular entity.

Vaulting over initial uncertainty in the premise, “The Corpse of Anna Fritz” is not as disturbing to watch as one might fear.

Disassociating it from the juggernaut it would become and taking it at face value, the movie has a hard time holding up to fresh eyes over 15 years later.

The film features barely a hint of hilarity in spite of its premise, going instead for a somewhat stifling style of artily brooding bleakness. Think Jim Jarmusch, not Jim Carrey.

Something intriguing swirls in the center of this script, but whatever movie “Visions” intended to be is not the movie it is.

It is a sleepy crawl for the impatient, though settle into the scenery and “The Boy” rewards with impressive execution, even when it is being rote.

“Synchronicity” is essential viewing for indie filmmakers in need of inspiration or ideas on how to execute high concept with a low budget.

Bringing a movie to market in this manner is akin to having Ray Bolger’s Scarecrow present a Fabergé egg to the tsar.

Needing more animation in its action and more charisma in its cast, “Stung” is only slick enough to be a standard killer bug movie with too slight of a humorous edge.

Consider its cast of unknowns, the backyard look of (being) shot on a consumer camera, and a poorly Photoshopped poster, and it is crystal clear that “Lake Eerie” is not a professional-grade feature.

Certainly not the best, definitely not the worst, “Ghoul” is an above average first-person fright film.

Whether establishing atmosphere or a character, “The Veil” knows only one way to communicate any piece of information. That way is always overt, repetitive, uninteresting, or all three at once.