Debopriyaa Dutta

Offering no individuality of its own, Zone 414 barely manages to stay afloat with its oft-repeated tropes, which come to a listless, foreseeable end.

Despite featuring tense chase and gore sequences that are fairly well-made, Texas Chainsaw Massacre butchers Leatherface's legacy in the dullest of ways.

Uninspired in terms of narrative ingenuity, Sacrilege mimics cult horror tropes with detached superficiality, failing to either scare or compel.

There is nothing remarkable or special about Blacklight — it's fairly empty, a boilerplate series of dialogue, action, dialogue. However, it is fun to witness Neeson do what he does so well and lose oneself in the thrilling familiarity of hand-to-hand combat and shootouts.

Shattered is a poorly-acted home invasion tale with laughably predictable twists, amping thorough frustration in viewers by dragging on to no end.

Replete with atrocious visual effects and sound design, Vanquish emerges as a ghost of an exciting action thriller with a tired, deadpan storyline.

Breach has its moments of B- movie fun, stemming more from utterly ridiculous execution than a sincere effort to create a gripping space horror.

Despite featuring a few well-executed, tense gore sequences towards the end, Smiley Face Killers is mostly uninspiring and makes for a tedious watch.

Lacking narratorial depth, convincing characters, and a plausible storyline, Curse of the Blind Dead utterly fails the original tetralogy on all ends.

Rooting itself in nuanced tech-noir, The Tangle unfolds into breathtaking lyrical poetry about human ambition and “the caverns measureless to man.”

Too little attention is granted to Apex’s world-building, and the sci-fi aspect of the film seems more of an afterthought rather than an active factor, making the film a terrible, mediocre letdown.

Sporting skilled choreographed action sequences, Castle Falls offers a mildly satisfying viewing experience despite a weak and muddled storyline.

Lair could have been a solid entry in the horror genre had it not been hindered by a muddled narrative and sub-par execution, which only leaves the viewer wishing for something far more substantial than what was given.

Despite its potential, A House on the Bayou has nothing new or interesting to offer, with the final twist further undoing the film's scattered charm.

Perhaps if Death of a Telemarketer were 30 minutes shorter, it could’ve made an improvement on its already-threadbare and mirthless plot.

The Kindred is overrun with clichés despite providing some solid concepts, marred completely by a sluggish pace and unconvincing writing.

Weaving an unsavory tale about isolation, bullying, and familial dysfunction, Slapface looms like an uncomfortable truth that is too desolate in tone.

The Changed is a poorly-executed alien invasion riff-off, bereft of any sci-fi elements worth delving into or relatable characters worth rooting for.