“Don’t Let Go” uses a classic paradox premise to spin an unexpectedly moving fable where powerful family bonds break restricting rules of reality.

Even with a number of prime pieces to play with, “Antrum” takes a wrong turn by building around a tame story that isn’t nearly as intriguing as the background bits.

A casual charm emerges from unusually down-to-earth fiction that makes “The Shed” endearing without being cutesy or comedic.

Distinctive films like this one reward those who go out of their way to get to it by beautifully, and bizarrely, broadening their horror movie horizons.

If “The Wretched” is indicative of the stylish creepy-crawling The Pierce Brothers can deliver, expect to see even bigger and bolder productions in the duo’s future.

You’d better be in a merry mood if “Holiday Hell” is to have any hope of spiking your egg nog with entertainment.

“Rattlesnake” might be a ringer released by Netflix to illustrate exactly why we need the ability to blaze through boringness on our own terms.

Ably aided by her two co-stars, Caitlin Stasey’s highlight-packed performance tows “Kindred Spirit” through its troughs and jets it right over each peak.

Once “Girl on the Third Floor” trades its first act foundation of cinematic convention for a second act of thematic reflection, shed skin reveals bones of infinitely more intrigue.

There aren’t satisfying pops so much as an inflatable tube man flapping weakly in the car lot wind.

“Portals” overloads on vague themes while many minutes are spent simply watching people puzzle over black doors, and not necessarily doing much more that that.

“1BR” joins an exclusive shortlist of minimalist thrillers whose solid suspense becomes built on the backs of a low budget and unfamiliar cast, not in spite of them.

“Blood Vessel” demonstrates the difference passionate effort makes to elevate a midrange horror movie from standard Syfy fare to a terrific thriller with streamlined style.

As much overtime as it works to capture the spirit of the season, “Trick” puts in even more effort to mirror “Halloween” the movie.

Picture Tom Hanks in “Cast Away” except he’s a young woman. Now instead of a volleyball, imagine Wilson is a fish monster. That’s your simplified summary of “Sweetheart.”

Anyone prone to enchantment from moody microbudget thrillers should appreciate the splash of arthouse flavor in “Dementer’s” psychological suspense.

“Mary” is lucky to have Oldman and Mortimer, which means the audience reaps their benefits too. Together they keep this voyage from being a bland bust.

“Rabid” puts an entertainingly wicked bite into body horror using gobs of gruesomeness and a little bit of cheeky glee.

“He Never Died” tried something similar, but “She” more successfully slathers wry comedy in grey gloom to keep its quirk subtle, yet strong.

Would it aid your expectations any to know it was filmed on the cheap, shot in Bulgaria, and doesn’t star a single person you’ve heard of?