“Beware the Slenderman” offers a takeaway of compassionate understanding that this tragic story has no evil villains, only unfortunate victims.

The movie is a neatly compacted little thriller, but one with a shiny, gold-plated exterior, and hollow, stomach-rumbling interior.

"I Am Not a Serial Killer" combines dark family drama, creature feature, and serial killer thriller into one uniquely entertaining package.

Think of the film as the moviegoing equivalent of catching up on the couch through conversation over a beer. “Another Evil” is that kind of a restrained experience.

“Phantasm” sets itself apart even further in horror filmdom by belonging to a franchise/subgenre class that is uniquely its own.

For those okay with a pared-down primer favoring made-for-cable sex appeal over factual accuracy, “Manson’s Lost Girls” fits that bill just fine.

It’s the kind of movie where you simply say, “it was okay” in response to a coworker’s question about its quality after identifying what you fell asleep to over the weekend.

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.