Even though “Hostile” hits bumps impeding immersion in its fiction, inventive craftsmanship enables it to be more easily appreciated as a movie.

Mischa Barton and Tara Reid I understand. But what in the world are Dee Wallace and Chris Mulkey doing in something like “Ouija House?”

It’s simply splattery and silly, but in a blackly good-humored way that has the colorful enthusiasm of an R-rated “Goosebumps” movie for adults.

Stick to the advice offered earlier and don’t see this movie. Unless it’s already too late, in which case, welcome to our collective misery.

I came out badly wanting the movie to be better than it is. Should you choose to cruise into its black hole of humor, you’ll come out with the same wish.

“Nightmare Shark” positions itself as the “Nightmare on Elm Street” of killer shark movies, but it’s not even the “Bad Dreams” of killer shark movies.

A family fantasy tone makes the film feel like a Hallmark holiday movie with a dash of Syfy creature feature cream spilled in its campy coffee.

More of an indifferent nibble on Netflix than a specifically sought after rental, “Down a Dark Hall’s” plainly straightforward nature earns it a median grade.

If you’ve seen M. Night Shyamalan’s “Split,” you’ve already seen a better version of “The Basement.”

“Upgrade” plays less like a lower-budgeted 1980s Schwarzenegger extravaganza and more like a bigger-budgeted Full Moon sci-fi romp.

Although “Patient Zero” isn’t as abysmally awful as “Day of the Dead: Bloodline,” it isn’t a particularly fascinating, full-bodied, or worthwhile film either.

Because “Dead Night” is so incomprehensibly conceived, I’m morbidly curious how much worse “Applecart” possibly could have been.

Issues with “Along Came the Devil” have as much to do with what we’ve seen before as they do with what the movie perplexingly never shows us at all.

You absolutely have to be in the mood for a movie designed to make you reach for tissues. Expectations for anything else can only end in dulled disappointment.

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.