“Bingo Hell” brings out some smiles, some squirms, some sentimental sweetness, and some room temperature thrills.

It seemed like “No One Gets Out Alive” was set up to buck the trend of tepidly tame thrillers from Netflix. That’s not what happened.

“The Stylist” goes on an ambling ramble that doesn’t have much to say, even though it takes one hour and 45 minutes to say it.

The dreary drama is drier than an August afternoon in Palm Springs, except without any of the heat that might memorably scorch your skin.

Why does “Night of the Animated Dead” look like a single sixth-grader created a crude flip book out of notepad scribbles doodled during math class?

In the mood for a fun Halloween-themed horror anthology? Well then, rent something else, because you’ll only find rocks in “Bad Candy’s” bag.

“The Man Behind the Monster” succeeds at inspiring renewed appreciation for the actor, as viewers will come away anxious to load up their queues with the icon’s movies.

One thing I’ll give “Shelter in Place” is that it truly captures the extreme boredom of quarantining at home.

It’s an homage to every kooky cult classic that glowed like the “Raiders of the Lost Ark” idol to monster kids who grew up on video store weirdness.

Even if you had a blast with the live-action “Mortal Kombat” movie, I assure you “Battle of the Realms” is the wildest, wickedest, most fan-pleasing “Mortal Kombat” film of 2021.

“Karen” becomes a live-action comic book whose over-the-top exploitation antics are ripe for howling at your TV with eye-rolling hilarity.

Between “No Man of God” and “Ted Bundy: American Boogeyman,” the 100-minute movie about two men talking suddenly doesn’t seem like the inferior option.

The simple approach works well for the movie this is: a snack-size serving of stalker horror that slots smoothly into Shudder’s grab-and-go menu of casual chills.

A little flash of flair peeks through, even though the film feels a lot like a standard Syfy movie without the cable staple’s usual order of cheese.

For those of us who are fans of dementedly-designed miniatures, old-school animation, and midnight movie oddities, “Mad God” is a one-of-a-kind vision from a one-of-a-kind creator.

Perry Blackshear’s brand of intangibly implied insidiousness is back on track with welcome weirdness capable of worming its way into any susceptible psyche.

If you or I brought this script to a studio, we would be laughed out of the room once they got to the part that sounds like an altar boy’s fan fiction.

There isn’t anyone doing deeper, equally intriguing work on a consistent basis in the DIY horror space than this remarkably impressive filmmaking family.

The majority of the movie nails the feeling of a crisper, slicker Italian horror film from the 1980s even though it’s in Spanish.

“Offseason” excels at putting a bottle around insidious insinuations, but their hollowness tastes like a side salad of superficial visual spooks.