I’ve decided to give it a “neither here nor there” 50/100 because review scores need numbers, not shrugging shoulders emojis.

Welcome to the bottomless sewer of lo-fi indie fright flicks. Don’t feel bad. Winnie-the-Pooh apparently dwells down here now too.

Believe me, I agree I’m the last person I’d expect to find defending a widely derided “Children of the Corn” movie as “not that bad,” even “decent, actually.”

Too low-key to be of consequential value as a memorable thriller, the only way to take “Consecration” is as a middling one.

The only thing keeping “The Outwaters” from exile in a DTV wasteland is the suspicious spin from prominent people promoting it as a major event in horror entertainment.

Landing where a lot of Netflix features often do in the end, “We Have a Ghost” settles for their standard of being “alright, I guess.”

As a character-driven thriller, “Knock at the Cabin” attracts attentive eyes by having its charismatic cast turn up the tension on a highly suspenseful mystery.

I don’t see a reason to recommend “Cold Ground” since it’s uneventfully dull. To keep it in the Fabien Delage family, track down “Fury of the Demon” instead.

What more would any reasonable person expect from a film that touts the tired tagline, “How far would you go to save your child?”

Typical though its subdued spooks may be, “The Offering” serves them up with elegantly unsettling flair.

I walked away completely satisfied by the chocolate coating of “Savageland’s” impressive execution, but underwhelmed by the comparatively plain nougat at the story’s center.

It exists to be a standard schlocker with the right bite of B-movie nuttiness for making easily frightened dates shriek and their bemused companions smirk.

Maybe it’s fitting that Will is a mild-mannered man since “Sorry About the Demon” is a mild-mannered movie occupying a comparatively safer space among horror-comedies.

A pointless piece of nonlinear nonsense, “Skinamarink” is a banal B-movie of boring B-roll that’s as drearily dull as any film can get.

Mature themes and a quality cast might win more enthusiastic “mehs” from some audiences, although others are more likely to tune out to the tepidness.

I imagine if the slim script were printed out on paper, there’d be so few pages that the short stack would seemingly disappear when turned sideways.

“Scare Package II: Rad Chad’s Revenge” calls the first film’s ante rather than really trying to up it, resulting in a “more of the same” mood of mirth.

“Lullaby” presents a package of intriguing Jewish folklore on the outside, but inside the foil wrapper sits a bar of plain nougat coated in cliched chocolate.

“Prey for the Devil” puts the “O” in “boring” by ensuring uncontrollable yawns spend 90 minutes making that shape.

You might think the film was made in as little as eight hours, since it’s about as go-through-the-motions generic as a slapped-together slasher can get.