There’s nothing overwhelmingly “wrong” with the movie. There’s nothing overwhelmingly original about it either.

Like how audiences snicker at the ludicrous logic of an atomic monster movie, “Final Destination: Bloodlines” is wild in the best way possible.

A charming chunk of cheddar that taps into the warm, fuzzy, and fugly feelings that make many of us nostalgic for the crude creature features of our youth.

Amid all the swordplay, tracer fire, and bloodshed, it’s easy to lose sight of how much authentic motivation drives the stakes beyond simple survival.

No matter where a personal opinion lands, you still have to tip your cap to an imaginative vision that stays true to pursuing its own path.

“Until Dawn” manifests a mishmash of hairless wendigos, spontaneous combustion, and a witch watching television, but it’s all cliched clutter.

It seems silly for older eyes to dock points for “Fear Street: Prom Queen” being the flighty fright flick its DNA genetically engineers it to be.

For veteran viewers, if not for the film’s makers, “Rosario” doesn’t include many memorable moments worthy of earning much enthusiasm.

Putting everyone’s pedigrees together, it’s amusing, strange, or sad (choose your own term) to see these names slumming it in a B-movie filmed in front of a green screen in Poland.

It’s darkly disturbing while being entertaining in a wild way that almost makes you feel conflicted for being amused.

“Shiver Me Timbers” is another slapdash slasher where the madman murdering nondescript nobodies is supposedly some twisted interpretation of Popeye.

“Ash” shows more promise for Flying Lotus’s filmmaking future rather than impressing as an early career highlight to be repeatedly revisited.

The tagline says, “Everyone’s a suspect,” but that’s not true. The primary suspect can only be the one actor most people have previously heard of.

“Locked’s” reticence to hit hard with a meaningful message, unsympathetic characters, and thinly stretched thrills destine the movie for mediocrity.

“Whatever, it’s fine” doesn’t sound like a ringing endorsement, yet that’s approximately where “Hell of a Summer” lands in ultimate entertainment value.

“It Feeds” does just enough that’s different to become an example of how indie horror can be easily approachable without having to feel flat.