“A Girl Walks Home Alone at Night” bathes in a pop art lethargy that makes the maudlin melancholy of “Only Lovers Left Alive” look blisteringly kinetic.

“Terror 5” has several bright spots of unflinching frights that work well in their sudden outbursts of brutality.

The script gets carried away with excitedly explaining everything down to details that aren’t pertinent to any premise.

The scariest thing about “Tales from the Hood” is that despite being two decades removed from its 1995 theatrical debut, its subtext is as relevant now as it was then.

The slow smolder of its down-to-earth melodrama puts the film in an uphill battle where it underperforms against more energetic peers.

Damn near indecipherable from beginning to end, the movie celebrates manic madness to the nth degree, precisely as intended.

“Pig” is a rambling exercise in senseless shock value whose predetermined purpose is to be a meaningless movie.

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.