It’s not the epic conclusion we expected, arguably deserved, for “The 13 Ghosts of Scooby-Doo” saga. But it’s a fine enough follow-up for a quick hit of cartoon charm.

Horror has so many of these maddening psychological mysteries and creepy kid thrillers that a doomsday bunker could be stocked for centuries without risking a repeat.

“The Axiom” has a solidly developed story that helps it become one of the better-executed indies to swim in largely disappointing DTV streams.

Whereas “Happy Death Day” was a snarky slasher whodunit, “Happy Death Day 2U” is a fully comedic sci-fi caper movie.

How does a previously mediocre-at-best thriller hold up under the forgiving light of nostalgia 18 years later? Surprisingly not too poorly.

“St. Agatha” turns in a strong showing of gross-outs, gruesomeness, and other assorted scenes of savagery.

It took me over half of the runtime before I finally accepted that the movie might be telling a joke rather than being the butt of one.

Finally, a film to expand and inspire my knowledge, exposure, and appreciation of an often overlooked slice of cinema.

Filmmakers who really ought to know better are still plopping out redundant first-person flicks like cinema sadists taking their whips to Secretariat’s corpse.

Slow and steady may win the race, but it doesn’t make for an energetically engaging movie.

Why did I watch “Char Man?” I want to work out what would possess me to make such a terrible choice for an evening’s entertainment.

The film refrains from hitting a high heat, bubbling on an acceptable simmer that can singe fingertips without peaking into a full fire.

“Dry Blood” includes an almost equal number of plusses to its minuses, basically becoming a decidedly average microbudget horror movie.

You’d have to be a complete Grinch to be immune to the movie’s ability to melt icy hearts with its punchy spirit and cheeky splatter.

What exactly does anyone want out of a Predator movie that this film doesn’t deliver?

Bursting with black lights, strobe lights, skipped frames, and Stargate wormhole whips, “The Hive” exhibits the ADD energy of a music video on methamphetamines.

Whenever I reflect on the unusual appeal of its mesmeric allure, the more I appreciate “Under the Silver Lake” as a unique travelogue through a weird waking dreamscape.

I can’t think of a plausible scenario to explain how six writers became creatively involved in something so formulaically flavorless.

Looking at “Bird Box” solely through a lens comparing it to “A Quiet Place” kneecaps the movie’s merits as sharply produced, well-acted drama.

I wish there was something more than stage-setting to the first 60 minutes so that “One Cut of the Dead” didn’t take so long to win me over.