You’d better be buttoned up specifically for straight slasher movie slaughter, because the movie doesn’t have any more significant substance on hand.

While the subject of Jennifer getting her groove back remains strongly scripted, the film’s final third bobbles how to handle the creature feature element.

It remains so corner cuttingly choppy that its two years spent on a shelf could have been extended indefinitely without genre entertainment missing a beat.

What’s refreshing about the film’s somber journey is how its illustration of post-apocalyptic despair never reaches “The Walking Dead” levels of hopeless nihilism.

This is a movie where monsters are not the main attraction. The unidentified threat of one is.

It's a toss up if Dale Midkiff is even the genre celebrity who comes out looking the worst in a movie this big of a mess.

There is no objectively ignoring the notion that “Flay” gives off the unflattering air of an amateur cheapie.

Shaped a lot like a James Wan film, except slower and with a slimmer story, “Veronica” induces unease using subtly suggestive visual storytelling.

"Mohawk" drives drama by paralleling a contemporary social climate with challenging commentary on culture conflicts.

When you stop staring at its richly detailed design, you’re forced to realize you’re stuck in a snail-paced gumshoe mystery that isn’t exceptionally engaging.

Its middle ground of bittersweet family melodrama mixed with zany zombie action makes for a film whose fun comes from unusually entertaining eccentricity.

Like every good zombie story, “The Cured” understands that substance comes from commentary, not from carnage.

This is purely a filler film to make mortgage payments while everyone involved waits between better movies.

It is simply the standard by which all home invasion films must be measured in terms of resonant sensation and imagination infection.

“What We Do in the Shadows” features charismatic characters, biting dialogue, and appealing entertainment value while “Living Among Us” includes none of those things.

Given the violently fluctuating quality levels of the series to date, I’m not sure what the standards even are for grading a “Hellraiser” movie anymore.

Carefully measured performances send slow-burn suspense down a nerve-wracking straightaway of wicked witchiness.

Bella Thorne needs just one more long-delayed dud to dethrone Mischa Barton as the queen of forgettable thrillers dumped to home video.

Cutaway scenes constituting a loose Cloverfield connection feel more forcibly included than dad’s mistress at a family reunion.

“Inoperable” learned the wrong lesson from “Lost” about instilling suspense and made the same mistake of not thinking through its threads beforehand.