Like a 'hungry' on a human neck, “The Girl with All the Gifts” offers something meaty and meaningful that can be chewed on as entertainment or introspection.

“Justice League Dark” is everything I loved about animated adventures as a kid, but with a dark edge of horror appealing to more mature tastes.

“Arrival” captures the wonder of first contact in its first moments with an authentic air of astonishment, awe, apprehension, and terror.

“Rats” treats its titular topic not as a subject to be explored academically, but a babadook to be feared and frightened of.

“Split” is precisely the type of trip into tension once synonymous with Shyamalan's name, and a more consistently entertaining thriller too.

Forced to summon a non-Crichton simile, one might say “The Rezort” is something like the idea behind “Hostel” meets video game “Dead Island."

For anyone fascinated to see the difference ten story years makes, “Stake Land II” is a suitable sequel good for 90 minutes of melodramatic horror entertainment.

If “Zombieland” wasn’t a comedy, or “The Road” had slightly less somber drama, their similar setups would fall right in line with “Stake Land’s.”

It’s a Tin Man built from a cold frame containing the necessary limbs to be a basic movie, but missing internal guts giving it life beyond being average entertainment.

“Before I Wake” leaves an impression of being the movie the director wanted, though not necessarily what accustomed viewers expect.

If you want to revel in as much material about making “Pet Sematary” as is currently documented in film format, you really don’t need anything that “Unearthed and Untold” doesn’t have.

Watering down the title to “Hunting Grounds” makes strange sense because it speaks to how interchangeably tame the well-meaning movie is.

As far as standard cabin-in-the-woods creepshows go, “Bornless Ones” is one of the better-acted and most efficiently executed productions out there.

Imagine the pre-shower Marion Crane scenes of “Psycho” tinged with a touch of Tarantino pulp and you’re halfway to picturing the neo-noir story and style of “The Frontier.”

Figuring out that “Amityville Exorcism” is homemade horror not worth watching takes ten seconds. So why sit through the remaining 4,610?

“This is how all bad horror movies start,” says one character early in the movie, approximately 20 minutes after you’ve already said it to yourself.

2016’s “The Ouija Possession” is actually 2012’s “Jonah Lives” sneakily rereleased under a new title.

“The Snare” is such an odd blend of curious character study, inconsistent tempo, difficult themes, and Spartan aesthetics that no assessment can break it down for all audiences.

One thing “Pitchfork” doesn’t have is the thing it needs most: An irrefutable reason to watch it when so many other slashers have done it better.

The film’s final edit waves a white flag of having been worn out from so much whittling, it surrenders with an exhausted, “let’s just be done with this.”