Maybe the film works better for those who mistakenly believe downtown L.A. is some sort of “kill or be killed” wasteland of “Escape from New York” proportions.

Blending these subgenres intriguingly transforms associated tropes into a thoughtfully-plotted thriller that gives “We Go On” a unique identity in horror.

This “Fury of the Demon” may be as fictional as its namesake, but it is completely convincing and creatively compelling from its first minute to its last.

“The Unseen” isn’t always upfront about its entertainment intentions or its story’s destination, which presents a problem for the fiction’s flow.

By treating its silly premise seriously, “Bed of the Dead” finds its way past the easy way out of comic campiness to muster merit for midnight movie cult status.

“The Frankenstein Complex” is a rare documentary that can celebrate the wonderment of practical movie magic while exponentially increasing anyone’s appreciation of the craft.

Built from a carbon-copied template of tropes and seeming indifference from the filmmakers, “Ghosthunters” is a struggle to sit through.

There is zero doubt in my mind that had I seen the film in a theater, an audience would have collectively released a deafening groan of disappointed disapproval.

“The Dead Room” is neither original nor especially frightening, yet the technical tactics distract from dullness with subtle creativity.

If you were to close your eyes and listen to dialogue alone, you’d swear you were hearing a half-speed rehearsal read-through where no one knew the camera was rolling.

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.