Imperfectly conceived via a stuttering screenplay, “Summer of 84” nevertheless maintains enough mystique to warrant a worthwhile watch.

“Pledge” blends its various components beautifully for a “just right” bowl of Goldilocks porridge in the form of a well-balanced little chiller.

Combining the psycho-science of “Parasite Eve” with the nightmarish texture of “Silent Hill,” “Aragne: Sign of Vermillion” slices an unsettling piece of animated horror.

Light on substance, yet heavy on slaughter, I can’t accurately predict whom “Puppet Master: The Littlest Reich” will offend and whom it will delight.

“Cam” is a clever, creepy, completely compelling character deconstruction and reconstruction nestled inside an enigmatically eerie horror story.

Running on a quieter engine of pulled-out pacing, “Our House” has a harder time besting buzzier opponents in the growing arena of grieving family spook shows.

Whatever you already think about the legitimacy of Zak Bagans’ paranormal investigations is what you’re still going to think after end credits roll.

For good or for bad, there’s a fair chance that “The Man Who Killed Hitler and Then The Bigfoot” isn’t the movie those words might shape in your mind.

“Rampage” comes close to consideration for a family-friendly “Godzilla” alternative whose ham-handed drama only sometimes gets in the way of creative creature feature carnage.

“The Devil’s Doorway” has enough meat on its bones to earn a leg up on “The Devil Inside,” but not enough intrigue to bump past the chills of “The Last Exorcism.”

I’m sorry to have to say this to anyone who has yet to hear it, or may be unwilling to accept it. “5th Passenger” is simply a flop.

It rightly recognizes the larger-than-life filmmaker as true cinema royalty, and never misses an opportunity to express that positive perspective to viewers.

Viewers are treated to a varietal assortment of bite-sized blah masquerading as an interwoven microbudget movie.

Despite initially appearing as though it might have uniquely foreign flavor, “Ouija Séance” ends up being tap water terror from a microbudget faucet.

With a marital strife melodrama sitting at its center, “The Domestics” has too tame of a tempo for the campy component of its setup to stay in step with the style.

“Tau” ogles Maika Monroe so obsessively that I wouldn’t be surprised if her talent agent sued the production company for misrepresentation of their project’s purpose.

“Hover” plays less like a traditional Syfy thriller and more like an “Erin Brockovich” drama that happens to have a mild science-fiction overlay.

“The Russian Bride” doesn’t establish a gun so much as it lays out an entire Chekhov’s arsenal of future story beats.

Imagine “Hereditary” with a foreign fright film flavor, but presented with James Wan’s sense of cinematic spook-showmanship.

The movie stocks several secrets up its sleeve to notch it above being another routine run through a harrowing home invasion.