Evidently, “Five Nights at Freddy’s 2” was made for TruFans™ who would rather spend the movie repeatedly reenacting the Leonardo pointing meme.

“Sleepwalker” was developed from a seven-minute short from 2024, which explains why its 89-minute runtime goes on 81 minutes too long.

How many miles anyone gets out of “Chain Reactions” depends on individual investment not only in TCM, obviously, but in the five subjects speaking.

If “Match” had been shot in the 1970s, it would have become a cult classic for its skin-crawling weirdness that’s still snicker-worthy in a wicked way.

It assumes everyone watching must be a dimwit too dense to understand how the most basic storytelling concepts work.

It’s a better idea to lighten up on the outrage and enjoy “Predator: Badlands” for its high value as an action-intensive outer space adventure.

Although it leaps off a compelling springboard, “The Carpenter’s Son” lands in a shallow pool in search of more commanding material.

“Keeper” is more of a movie meant to highlight Tatiana Maslany’s talent anyway, and that is where the film sees its greatest success.

Compared to the pointless pap Winnie and Mickey are put through nowadays, crude Scrooge ends up looking as noble as Charles Foster Kane.

I don’t know whether to emphasize “this” or “the,” but this is the humorous holiday horror movie you definitely want to enjoy at Christmastime.

If a Vietnam War movie doesn’t include Creedence Clearwater Revival’s “Fortunate Son” on its soundtrack, is it even a Vietnam War movie?

“Bone Lake” comes across as a genuinely committed attempt to craft a slick little film streaked with some slaughter and a slight touch of self-aware silliness.

“Coyotes” builds a stale-tasting nothingburger with moldy buns of humor, curdled condiments of horror, and meat missing from the middle.

Mimicking common “found footage” mistakes by merely going through the motions is the curse afflicting “Dream Eater.”

More of a ”side of the road” stop than destination entertainment, “Shelby Oaks” would fit well in a faux documentary marathon, just not as the main draw.

Confidently surfing a tidal wave of brazen gags, Tina Romero’s horror-comedy creates a partygoer personality as chic as its colorful characters.

Guillermo del Toro’s creative freedom to be as artistically indulgent as he wants becomes a double-edged sword in this case.

“Black Phone 2’s” crossover into “A Nightmare on Elm Street” territory works well on the surface, but not as well for the familiar fiction operating underneath.