“King Knight” is a dramatic comedy aimed at people who can relate to reckoning with a particular kind of identity crisis during the twilight of their thirties.

“Old” offers much to mull over as a slow-burn ‘Twilight Zone’ chiller, but more so as a quietly provocative piece about our relationship with mortality.

On paper, this sounds like a masterful cinematic illusion that would make M. Night Shyamalan drool. If it can be pulled off, which “Masquerade” can’t.

“Blood Red Sky” turns into one of the more “human” vampire movies out there because it’s really about a single mother fighting against forces trying to turn her into a monster.

It might be for the best that “The Boy Behind the Door” becomes more fictional than factual, at least as far as rattling viewers with “ripped from the headlines” realism is concerned.

It’s standard slumber party stuff chock full of angsty young friends, a Ouija-adjacent summoning, a vengeful spirit, you know the drill.

I have a more favorable opinion of the entire “Fear Street” trilogy, what it intended, and what it accomplished, now that I know how the three chapters fit together.

This looked like a lot of redundant crawling. Did I really want to spend 90 minutes stuck inside a tube watching one woman wriggle around?

After factoring in the pros of its professional polish and the cons of disposable character development, “A Classic Horror Story” comes down to how well its ending works.

If “1978” wasn’t part of the “Fear Street” event, it would barely be remembered as a so-so summer camp slasher dominantly distinguished by “having one of those ‘Stranger Things’ kids in it.”

“Behind the Sightings” shows up five years after the forgotten phenomenon it photocopies and two decades after the “found footage” fad hit its peak too.

The recipe for a successfully satisfying viewing requires seeing “Till Death” as an R-rated Lifetime drama that takes a sudden turn into Stephen King-style horror.

“Fear Street: 1994” sunbathes in scorching nostalgia, yet throws back the thrills with a neon-soaked style that’s still attractive to millennial audiences.

Patience isn’t only a virtue. It’s also a mandatory requirement for making it all the way through “Gaia.”

“Vicious Fun” wears a “your mileage may vary” tag that hangs on how much an irreverently snarky, character-focused chamber play tickles your fright film funny bone.

A mob-focused mystery spotlighting less popular people doesn’t hold a whole lot of intrigue considering Batman exists in a wider world of wilder possibilities.

Its Goldilocks blend of low-cal porridge that’s not too wild or too mild serves easygoing snickers with a light line of lycanthropic cinnamon sprinkled on top.

Losing interest is a running theme with “Amityville Vampire.” In fact, my interest has waned so much that I don’t even feel like fin-

“Untitled Horror Movie” runs the risk of lowering your heart rate with so much quizzical boredom, your FitBit might assume you died.

“Censor” doesn’t always have the substance, but director Prano Bailey-Bond and her creative collaborators definitely supply the style.