“A Wounded Fawn” is very much a movie where mood will directly determine which way your thumb points when it’s all said and done.

The upholstery-themed insanity of “Killer Sofa” will have company for the holidays now that the Christmas-themed kookiness of “The Killing Tree” has announced, “Hold my egg nog.”

More than anything, “Halloween: Resurrection” fails to satisfy franchise fans because it doesn’t resemble “Halloween” in any meaningful way.

Its uniquely weird flavor would have hit my tongue even harder if I didn’t have “X’s” plain taste already in my mouth beforehand.

Any discussion about “Smile” between two people who’ve seen it must include one of them asking, “Can you imagine being at that birthday party?”

Cherie gets tied to so many tropes in such a short period of time that “Run Sweetheart Run” floats away into absurdist overkill territory almost immediately.

“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.