“Scherzo Diabolico” is so fearless about melding two moods that otherwise shouldn’t work together, it creates a uniquely appealing viewing experience not soon to be forgotten.

A wicked, wild, even whimsical take on holiday traditions that is as much of a fable about family values as it is an energetic and eerie terror tale.

It’s the right way for Zack Ward to cut his teeth as a neophyte in genre entertainment generation. “Restoration” just isn’t the most thrilling thriller that this genre has ever seen.

“Bite” takes the fear of where that weird bump on your arm came from and amplifies it to an extreme certain to have you brushing a bit harder next time you feel a phantom tug on your skin.

“The Phoenix Incident” blends fact and fake in such a skillfully slick way that some viewers may walk away wondering if the fictional characters are dramatizations of actual people.

From Allen’s odd accent to the curious choice to film in first-person, “Pandemic” can be strangely engaging even though it isn’t impressive.

“Darling” is a minimalist mood piece playing best to an arthouse audience hypnotized by ambiguous artistry.

“Paradox” feels like part of a Saturday syndication sandwich circa 1998 bookended by reruns of “Poltergeist: The Legacy” and “Earth: Final Conflict.”

“Hardcore Henry” is in truth a one-trick pony, though it deserves to be said that its one trick is undeniably impressive.

If only the stories took their suspenseful setups to captivatingly creepy conclusions instead of frustratingly mediocre ones, “Holidays” could have been a classic good for any time of year.

I would sign on to see this cast in a scary, well-constructed “found footage” film. “Slender” is not that film.

“10 Cloverfield Lane” seethes with the kind of suspense that can curl fingers into claws embedding nails into seat cushions.

“The Drownsman” has a visual polish rivaling big-screen mainstream features and there is enough uniqueness in the water phobia theme to make the movie memorable.

What makes “Cherry Tree” so interesting is how its murky execution is able to inexplicably inspire allure as often as it does confusion.

The movie unleashes intensity both loud and quiet with exhilarating efficiency as a smart, stripped-down thriller.

“Midnight Special” emphasizes the “human” in superhuman with a realistically grounded look at how extraordinary powers might affect ordinary people.

“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.