For a PG-13 thriller left to freeze on a January release doorstep, “The Bye Bye Man” is a perfectly passable popcorn production.

Put up against similar thrillers with less simple setups, “Quarries” is missing a hard hook to distinguish itself in the survivalist stalker subgenre.

“The Transfiguration” is an often quiet, often bleak, introspective examination of overcoming hopelessness through humanity.

“Bethany” is simply so bland about everything it rehashes that its lethargic lifeline translates into boredom for the viewer.

“Teen Titans: The Judas Contract” is a solidly entertaining animated adventure mixing topical teen melodrama into its action.

Even though cinematic competency disqualifies “Life” from being “bad,” its formulaic flatness assures indifference as a likely audience response.

The film’s darkly demonic, understated intensity makes it the best John Carpenter movie not actually made by John Carpenter.

“68 Kill” gets away with its gobs of grindhouse grain by slathering scenery in dark humor and switching stereotypes regarding which sex wields the power.

Inconsistencies are tied together by evilly eerie cinematography and well-designed sound using style to counteract coming up short on ambition.

“The Devil’s Candy” whips up a smattering of standard horror film concepts in a cerebrally creepy presentation whose atmospheric sum is more compelling than its pedestrian parts.

If you pause the movie to take a phone call or grab a bite, it’s 50/50 if you’ll remember to return for the remainder later on.

“Mayhem” invests most of its metaphoric money in violent stocks, bloody bonds, and a mutual fund of muah-ha-ha black humor.

“Tragedy Girls” has done its homework on how to hook horror and humor into a singularly sassy, savvy, and splattery movie.

John Wick and James Bond have met their match, as there hasn’t been an action heroine this explosive since “Kill Bill.”

These unlikely potpourri pieces work in concert to create a unique motion picture that is funny, sweet, smart, sly, and sometimes even savage.

Jack Roth’s motormouth and mannerisms suit Danny’s dangerous disposition to a T, and alone are enough to make the movie a worthwhile watch.

“Prevenge” is unique among humorous horror films for having a pregnant protagonist and a cheeky angle on what that entails when she is also the antagonist.

Once “Game of Death” gets its premise off the ground, it turns into a wickedly gruesome ride that is miles more entertaining than its obnoxious opening.

“Freehold” simmers its ramp-up with a prolonged pace that is sleepy, though its low-humming humor grows more infectious in the meanwhile.

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