There's only the smallest smattering of substance inside "Afraid," making it about as artificially intelligent as a filler thriller can be.

Imagine the hypnotic horror of Panos Cosmatos meets David Lynch dreaminess with an arty A24 style whirled together in a macabre midnight movie.

Arguably admirable in its thematic intentions, it's harder to argue that "Here After" is ever eerie, exciting, or entertaining.

Plowing through every routine plot point imaginable, the movie is a laughable erotic thriller that's barely erotic and hardly thrilling at all.

At a time when so many indie horror hucksters are still shoving "Amityville" into their titles, it's inspiring to see Curry Barker putting in real work with an original effort.

While Cooper desperately searches for an escape route, viewers desperately need to put disbelief into a deep freeze, because preposterous developments pile up in a hurry.

"The Demon Disorder's" creeps mostly come quietly while the movie squares its spotlight on sibling melodrama.

It's in poor taste at best and irresponsible at worst to pin the blame on an imaginary being than the true causes of domestic violence and impoverished living.

A movie so soaked macabre mystique, it sounded like you'd risk damning your soul to the darkest depths of Hell just by daring to watch it.

Viewers are left to gnaw on the skeleton of an emaciated thriller without much meat on its sun-bleached bones.

"Oddity's" wooden man should join the "Talk to Me" hand and "Mister Babadook" pop-up book among the top props in modern horror iconography.

Compromises must have been made, leaving "We Are Zombies" to let its potential evaporate while coming up short as comedy and as horror.

“The Beast Within” aligns itself much closer to a thematic drama focused on troubled family ties than a midnight movie bursting with beasts and bloodshed.

Not since “The Texas Chain Saw Massacre” has a genre movie’s title inspired such an accurate impression of the film’s contents as “Starve Acre.”

They didn’t do anything with the “Steamboat Willie” concept except slap a Mickey Mouse mask on some guy and call it a day.

It works as a captivating creeper, I’m just not sure what “MaXXXine” really has to say once its B-movie bloodshed is all said and done.

What begins as an introspective arc of an emotionally devastated person rediscovering her will to live becomes a broader story about connecting with others.

Affecting for its thoughtful context and entertaining for its gripping thrills, “Godzilla Minus One” is just about as good as Godzilla gets.

“The Primevals” is the closest a monster kid will come to experiencing a “new” Full Moon film that feels like the imaginative oddities from the company’s heyday.

With a free-rolling camera and provocative score full of unholy operatic shrieks, the film snatches its haunting style right out of the 1970s.