The franchise contains so many flops that being a slightly above average horror movie means it’s outstanding as far as Hellraiser films go.

This is a sentimental Stephen King story about death, grieving, and guilty consciences that’s closer in tone to “Stand by Me” than “Pet Sematary.”

A breezy 90-minute lark streaming on Amazon doesn’t provide a properly tuned piano for hitting all of the intended notes of horror, humor, and heart.

Kudos go to whoever had the chutzpah to do something completely uncharacteristic with a concept that’s traditionally more “Degrassi” than “Friday the 13th.”

Rob Zombie’s “The Munsters” isn’t merely bad. It’s beyond bad. As in, “It shouldn’t even exist” bad.

Staged like a play from start to finish, “House of Darkness” is boringly blocked for the static staleness of constant chitchat.

Why remake a movie whose impact hinges on a major twist when audiences familiar with the film already know the big secret ahead of time?

Despite landing awkwardly enough to sprain both ankles, the program “Speak No Evil” follows features a meaty midsection of quiet chills and shocking suspense.

“Evil Things” is simply effective at being eerie, and that’s something few microbudget “found footage” films are able to capture on camera.

Let me tell you, I’m both pleasantly surprised and maybe a little embarrassed to confess that “Fall” had my stomach turned into all kinds of knots.

Too many unnecessary cooks cluttering a white-walled kitchen boiled a plain pot of plop even Chef Boyardee wouldn’t deem fit to put in a can.

One actor appears about as shocked to discover sentient Russian sharks colonized the moon as he would be to find out Lay’s released a new flavor of potato chip.

“Orphan: First Kill” wisely chooses to throw reality to the wind by becoming kooky entertainment akin to a carnival sideshow that just wants to wow an audience gawking in stunned disbelief.

“Glorious” does a lot with a little, turning itself into a Doctor Who TARDIS whose interior is impossibly more expansive than what outside appearances suggest.

At one hour and 53 minutes, “Day Shift” gets long in the fang when a down-and-dirty dynamo would have mercifully killed long lulls.

Provided you can push past any exhaustion, you’ll feel a rush of exhilaration when you hit the dizzying sprint toward the finish line.

There might have been an appetizing meal in here at one point, but the movie can’t quite figure out what it wants to put on the menu.

“Prey” roars much louder than its theatrical peers, and returns “Predator” to its roots with a crowd-pleasing concept that’s awesomely engaging.

“Gone in the Night” doubles as a description of what will assuredly happen when the film suddenly vanishes from streaming availability, and no one even notices.

Now their ugly Frankenstein experiment is lumbering out of a dinky DTV lab only to keel right over after taking its first faltering step.