If “The Conjuring 2” doesn’t put color in your shorts, it might be impossible for any horror movie to get inside your fear center.

“Mercy” holds a steady flame that sometimes doesn’t burn at all, yet its fire flickers with untouchably hot intensity and that understated drama is transfixing.

“Don’t Hang Up” steps up to the plate in a plain pinstripe uniform, sizes up a straightforward swing, and then smashes a screaming shot of suspense right over the wall.

Like the graphic novel it is based on, “Officer Downe” is an eye-bulging orgy of blood, boobs, and balls-to-the-walls mayhem.

Fans of Lucio Fulci, direct-to-video midnight movies, or terror touchstones striking fond fright film memories, “Beyond the Gates” is made with precisely you in mind.

With more subtlety than slapstick, clever characters ably acted by a carefully tuned cast pepper personality into even the drabbest of moments.

“Mark of the Witch” employs such an excessive use of slow motion that it would probably fill barely half an hour at regular speed.

Alec Baldwin is the main attraction in “Andron,” if only to wonder how a star of his stature ended up in a choppily-edited production of such low-budget caliber.

“Fender Bender” provides reason to lose sleep the next time you hand over personal info to the driver who just clipped your side-view mirror.

The “Halloween 6: Producer’s Cut” is still an imperfect movie, though moderately less so than its much-maligned “Theatrical Cut” counterpart.

Although aesthetically appealing as a film, “The Curse of Sleeping Beauty” undercuts itself as a feature by trying to pull double duty as a TV pilot.

Its slight charms bolstered by the benefit of fresh eyes in retrospect, the theatrical cut of “Halloween 6” is more than the meager movie many remember.

“Halloween 5” visually mimics many of the memorable setups from John Carpenter’s original, but it is missing the same soul of stylistic suspense.

To appreciate “Phantasm IV: Oblivion,” you first have to forgive all of the corners cut in putting the film together.

Having zero personality as either a clever chiller or self-aware parody, “Most Likely to Die” is simply an uninventive movie 20-30 years behind its time.

Revisiting these misfit characters and their weird world carries a magnetic appeal that can be difficult to articulate to anyone outside its influence, no matter if the movie is mediocre.

“The Offering” has no room remaining on its recycled template of tame terror to include an original stamp of its own.

“Phantasm” may be the only series where nonlinear narratives are specifically part of the structure and continuity is as expendable as a Red Shirt on the Enterprise.

The hitch to “House of Darkness” is recognizing that it is a movie made to slot in between “Seduced by My Sister’s Husband” and “I Swiped Right on a Stalker.”

Can the movie be considered any “good?”  Depends on your definition of the word “good.”  Maybe it also depends on your definition of the word “be.”  Or “the.”