“Blade: The Iron Cross” pours two tons of cement over Full Moon’s grave to ensure the corner-cutting company has no chance of rising to its former B-movie glory ever again.

Whether it’s being sassy, silly, stabby, or even sentimental, the breeziness behind “Freaky” makes the movie’s mixture an easy treat to swallow.

The best thing I can say about “Castle Freak” 2020 is that it feels like a “lost” Full Moon feature from the 1990s, and I mostly mean that as a compliment.

Whatever drinking game you choose, you’ll have alcohol poisoning before the 20-minute mark. Don’t worry about dying though. The boredom will have already killed you.

Picture a Lifetime movie that weirdly wonders, what if a daughter discovered mom’s too-good-to-be-true new boyfriend is secretly a shapeshifting Lovecraftian fish monster?

“The Vigil” writes an excellent essay about dealing with personal trauma that gets a little drowsy due to taking scenic sidetracks on every quiet route to a paranormal pop.

We receive a grounded story that gets to be chilling without viewers feeling like they need to visit a priest or psychiatrist to treat lasting nightmares afterward.

“Fulci for Fake” avoids becoming a plain talking head collage that feels like a bland Blu-ray bonus feature instead of a bona fide documentary.

The filmmakers know they’re not creating the next “Psycho.” As long as you’re in the market for simple suspense fare, you’ll appreciate their no-frills approach to a familiar chiller.

It’s a gift that keeps on giving, except that gift is a six-pack of socks or repurposed fruitcake, not quite the sleek and trendy PS5 you were hoping for.

Try picturing cigarette burns, a slight sepia patina, and dirty scratches clawing at the screen. Suddenly “Revenge Ride” becomes intoxicating in a bizarro cult classic kind of way.

If Netflix knew a proper way to promote, you’d have already watched “Vampires vs. the Bronx” and come to the conclusion it’s the year’s most fun fright film.

A snoozer story centered on unbelievably bland boys and girls sentenced “The New Mutants” to death long before distribution delays did.

“The Nights Before Christmas” still looks like adults playing make-believe, but at least it puts up an effort to appear like the scope is realistic.

“It Cuts Deep” puts me in a bit of a critic’s pickle. Maybe not a full-size pickle. Maybe more of a cornichon.

Because it is actually about something socially relevant, “His House’s” sincerity notches it at a significant cut above similar stories in the same space.

Even with a belly full of Skittles, suckers, and plenty of pumpkin ale, I couldn’t get enough of a boozy buzz or sugar high to find the fun I expected from “Happy Halloween, Scooby-Doo.”

Anything above that would be unexpected gravy, although “Come Play” settles for a straightforward side dish of unseasoned mashed potatoes.

Built to be a breezy B-movie made for a boozy Friday night, “Triggered” ends up being about as plain as every other “Saw” clone already out there.

“Spell” sort of says, “forget it” and pivots onto new property where it just builds with plain suspense instead of employing anything related to subtext.