Fraught with overwhelming fear from its opening moments, “Green Room” puts a knot in the pit of the stomach that is impossible to untie.

... a well-meaning documentary whose good intentions of exploring a seldom-seen corner of “Star Wars” lore are outmatched by anecdotal dialogue that is just not that interesting.

“Carnage Park” is a suspenseful sequence of sweaty standoffs allowing acting to engineer tension without much artificial interference.

Once “Beacon Point” calms down on contrivances, it leaves dull exposition delivery behind by settling into an engaging storyline with a confident slow-burn stride.

“The Funhouse Massacre” is what an indie horror film looks like when the lion’s share of a low budget goes to notable names while the rest of the production starves on table scraps.

"The Axe Murders of Villisca” slows down its intrigue factor to a jog as it approaches the finish line, instead of pounding feet hard in a breathless dash.

The correct reason to watch “The Night Stalker” is to see LDP grab the reins of his role and gallop off to the races.

“The Last Heist” is unimpressive as a Henry Rollins star vehicle. It is also uninteresting as a heist thriller and unexciting as serial killer horror.

Much of its tension doesn’t coalesce into the sweaty, suspenseful, ticking timebomb atmosphere it needs to nail to be a nuanced nailbiter.

The clever premise is imaginatively original, a streak of Lovecraftian noir adds stunning style, and atmosphere is charged with creative chills.

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.