“Under the Shadow” is equally adept at moving a hand over the mouth in fright or guiding it to the chin for a stroke of contemplative reflection.

“Johnny Frank Garrett’s Last Word” is often overwrought, but there is enough sincerity on display to admire the movie for taking an unorthodox approach toward mixing horror with history.

Committed acting carries the drama to a finish line finding “The Good Neighbor” winning out as a compelling character study as well as a thoughtful thriller.

“In a Valley of Violence” delivers exciting ensemble entertainment from a completely charismatic cast.

“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.