Funniness flies in your face fast and furiously from the first frame of “Little Monsters” all the way through its end credits song.

“Boredom makes men to villains,” says Willem Dafoe’s irritable lantern keeper. It also makes men wish they had chosen to watch anything other than “The Lighthouse.”

Riley’s oddly prophetic line, “we’re not inspiring people, we’re pissing people off” became unfortunately true for “Black Christmas” too.

A short and sweet take suffices for a short, sometimes savage, but start-to-finish entertaining endeavor such as “Harpoon.”

“The Furies” can’t even be described as a ‘steak and potatoes’ slasher. It’s all meat and no vegetables.

You’d be hard pressed to designate “Doctor Sleep” as anything other than a directorial success as far as an achievement to ambition ratio goes.

No matter how much I mull over “Wounds,” I’m no closer to concluding whether Armie Hammer’s performance is brilliantly bland by design or just boringly blah.

Aster delights in deliberately trolling “it’s not horror!” TruFans who exhaustingly reduce his “adore it or abhor it” aesthetics into supposed evidence of overhyped boredom.

The movie mushes around unconscious content like Play-Doh while only making vague shapes of tangible storytelling.

Whether it’s uncreative kills, cursory characterizations, or totally telegraphed beats, “Ready or Not’s” real issue is that it doesn’t put any inventive spins on standards setups.

This was doomed to be detonated as a total bomb from the get-go, and I’m flabbergasted anyone could have believed otherwise.

“Resin” demands to speak in its own voice. What it says might be music for some, but will sound like harsh screeches for others.

Everywhere you turn, a lack of snap in the tempo threatens to render audiences unconscious with carbon monoxide contagion.

“Countdown” answers the question, what would a cheap Little Caesar’s Hot-N-Ready look like in PG-13 horror film form?

Against my external uncertainties, “The Fare” won me over by its conclusion, primarily through persuasive performances built around a suspenseful setup.

If there were any other way to critique “Eat, Brains, Love” without singling out a specific someone whose career isn’t fully established, I would take that alternate route.

“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.