“The Honor Farm” is like Richard Linklater and David Lynch collaborated on a tribute to John Hughes in the context of a horror movie.

“The Belko Experiment” moves terrifically and its tension is tight, yet there is a Chinese food effect leaving stomachs rumbling after end credits roll.

For fans of Dominic Monaghan and/or Sarah Habel, “Atomica” has a better hook, because there is a lot, and I do mean a lot, of these two actors onscreen.

“The Dark Below” doesn’t struggle to be intriguing, though it does struggle to expand that intrigue to feature length.

There is enough initial intrigue to “Friend Request” to keep it a notch above average as “Single White Female” for a social media age with a supernatural twist.

When rush job restrictions are taken into account with “Son of Kong,” it’s easier to forgive the departure in tone and dip in quality as necessary evils.

This dated grade of retro cinema style makes the movie a terrific time capsule of everything endearing about cheesy 1980s horror.

It’s the kind of honest indie effort no critic delights in dissuading someone from seeing because its intentions are obviously good.

The movie makes sure to showcase Kong with every ounce of mammoth majesty the mighty king so rightfully deserves.

“Ghosts of Darkness” is standard spookshow stuff. Execution does all it can to be interesting. It's simply the script that only tries half as hard.

If you can get past the choppy CGI and get into the slowly smoldering mood, “The Creature Below” can be oddly intoxicating.

If your face isn’t immediately locked in an ear-to-ear Joker grin, your nostalgia meter is improperly tuned to feel the full effect of the film’s fun factor.

“Needlestick” is kind of like “Frankenstein” reimagined as a slasher film. That analogy sounds cooler in concept than it comes across in this case.

“Get Out” is an impeccable balance of self-aware satire, subtext, and suspense, and the viewer is invited to fashion a personally tailored experience.

A big part of what makes “Ring: Kanzenban” oddly transfixing is how its VHS veneer gives a great throwback vibe for a 21st-century viewing.

Does “Drifter” take place in a post-apocalyptic near future or did the brothers take the wrong freeway exit to a trailer park outside of Victorville?

We are on approach to the third decade of the 21st-century and astonishingly, ‘women in horror’ is still regarded as novelty instead of norm.

“Shut In” is so paint-by-numbers and bland, even a Thomas Kinkade gallery would be embarrassed to display it.

“Capture Kill Release” doesn’t so much profile a descent into madness as it does the fracturing of a flawed marriage that happens to be framed around murder.

“Voodoo” is so wildly misconceived from idea to execution that it almost, almost, has ironic value as a batty curiosity of bizarreness.