“The Woman in the Yard” languishes as a mostly muted spooker that’s heavy on dour drama, yet light on lasting chills.

Conceptually compelling and exceptionally executed, “Shadow of God” is the most memorable possession movie since “The Exorcist.”

“825 Forest Road” is recommended for fans of movies made by indie artists who put sincere commitment into personal projects.

“The Rule of Jenny Pen” fires off frightful suggestions from a bevy of barrels pointed directly at anyone who has ever felt unnoticed and unheard.

I can't recommend "Curse of the Clown Motel,” but I can recommend a trip to the actual Clown Motel and its surrounding town of Tonopah, Nevada.

It’s moderately more watchable than “Popeye’s Revenge,” though that’s like saying being mauled by a bear is preferable to being mauled by a lion.

“The Monkey” cheerily and cheekily revels in this brand of B-movie schlock, though it always does so with hyper-stylized shocks.

Samara Weaving earns top billing and the most minutes onscreen, but “Borderline” is really a greater showcase for Ray Nicholson.

The uneven experience ends up feeling so fleeting that I’m uncertain what needs to be said about the movie other than a head-tilting “eh.”

Once the slight shininess of “Bloat’s” “screenlife” sheen gets dulled, it’s even easier to see the movie as a rote possession yarn.

Dualities dominate “F Marry Kill,” though they cause confusing creative conflicts more often than they work in tandem to complement one another.

What’s the point in paying the movie any attention simply because it was first to hijack a lapsed Disney property for exploitation in hacky horror?

“Popeye’s Revenge” makes a strong case on behalf of corporate lawyers for why ordinary people shouldn’t be allowed within an inch of lucrative IP.

“Presence” illustrates the dreadful dullness a stranded spirit would actually encounter while peacefully haunting a normal house.

All aspects of drama, suspense, and parody get big boosts from the pairing of Sophie Thatcher and Jack Quaid, both of whom are easily the right actors for their roles.

The world created for “The Gorge” might work better in a book, where an active imagination can shine brighter lights on the creatures and concepts than the movie does.

“Heart Eyes” casually entertains as a fun-focused slasher, but its temperature isn’t turned up as high as it should be.

It’s not your fault if you make the mistake of assuming “Piglet” spun out of the “Winnie-the-Pooh: Blood and Honey” series.

“Dark Match” got me thinking. How did I handle B-movie believability when I was younger? What was the criteria for suspension of disbelief?

Characters kept at arm’s length from audience investment and predictable beats transform “Wolf Man” into a disappointingly bland movie.