Rob Staeger

Unfortunately, Dinosaur 13 never manages to display the story's many complex parts in a way that enables viewers to grasp the whole beast.

In Fear traffics in suspicion, ratcheting tension, and shocks — including a few really effective ones — more than in satisfying explanations.

Undead fare has to break new ground to stand out from the ravenous crowd, something What We Become never attempts. What might have been the best zombie movie of 2004 can't help looking a little sickly in 2016.

As a suspense film, Dementia is solid but unremarkable, even considering its ugly snarl of an ending. But hidden underneath, the film has all the elements for a compelling, sharp-edged family drama.

Restaging the 1978 Jonestown massacre for a present-day suspense movie is by most definitions tasteless, although The Sacrament infuses the past with ghoulish immediacy.

The film is playful throughout... Unfortunately, the shoddy treatment of the film's sole LGBT character and a tendency to use people in wheelchairs as punchlines mar this otherwise delightful gruesome confection.

There isn’t much marijuana use in Jonathan Berman’s documentary Calling All Earthlings, but its elliptical, ramshackle structure could make one question the merits of legalization.

The drama plays out as expected — the ending, particularly, seems too pat — but offers several well-executed moments of tension along the way.

The resulting creep show has some frantic action scenes, but never quite enough spring in its step.

The gun-control message is so rote that it’s of secondary interest to the film’s ambitious structure.

Weightless as a bag of crisps, this matinee fare offers more laughs than scares. Its longest-lasting contribution, however, might be the cheery earworm of a fight song that plays over the end credits, infectious as a zombie bite.

The feudal revenge drama sacrifices thrills in favor of moral reflection in the unspoiled French countryside, keeping most of its violence at arm's length.

The film itself works best once most of the soldiers have been dispatched—too often in the first half, the constant running and discharging of firearms proves too similar to watching a first-person-shooter video game.

The anthology is a mixed stocking; if you reach inside, something's likely to grab you.

Much of Carnage Park is merely a sun-bleached desert creepshow, a murky soup of a murderer toying with his victims simply because he's cra-a-azy.

The film suffers from a series of unsatisfying endings, but it's nonetheless refreshing to see a zombie movie with brains behind the camera instead of on the menu.

The cast, led by Dan Ewing, Temuera Morrison, and Stephany Jacobsen, delivers sturdy character work, and the action is clear and well-executed, but none of it ventures beyond well-trod ground.

Director Jordan Rubin and the cast know the material is ridiculous, but calibrate the tone so that the dangers still feel dangerous.

Green seems to be asking: In the face of beasts whose scale and life cycles we can't begin to grasp, how can we allow our fellow human beings to be so unknowable?

If you're in the bag for werewolves (or have a thing for hairy dudes smoking distinctive pipes), Wolves is a beckoning howl in the night. As an action movie, however, it's surprisingly tame.

After a promising start, rote possession imagery eventually becomes the focus, culminating in a by-the-numbers ending.

Kevin and Michael Goetz's direction emphasizes the remoteness of the setting. The howl of the desert wind and the unflagging hammer of the sun are the backdrop for every bad decision, lending them a plausibility they wouldn't have in comfort.

Eventually succumbs to the weight of plot contrivance.

Vincent Guastini's makeup effects are the star here, a refreshing change from the inky CGI morphing of too much modern horror.

This watered-down throwback to The Wicker Man never really heats up.

Director Mitchell Altieri helms the thriller with a sure hand.

Fewer cops and more full-tilt vampire batshittery might not have resulted in a more coherent movie, necessarily, but almost certainly would've made for a more captivating one.

The Lennon Report loses some steam in its second half as the immediacy of the operating theater dissipates in press conferences and obituary voiceovers. Even so, Profe does an admirable job walking us through the day's events, weaving together the accounts of people on the scene.