“The Lair” asks the question, are “serviceable” and “forgettable” interchangeable adjectives for describing this movie?

Put on a blindfold and descend into “Barbarian’s” dark corridors for a creatively clever creeper that’s certain to rattle your nerves.

The five shorts feel like separate entities fighting to fit into the framing device, both as VHS “found footage” and as stories that are supposed to be set in 1999.

In addition to its dramatic depth, “Halloween Ends” delivers a unique experience unlike anything else in any of the Michael Myers continuities.

“Spirit Halloween: The Movie” is a lot like the store. It’s moderately charming, a little chintzy, and stuffed with cheap fluff that’s occasionally still good for a gag.

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.