The Amityville Murders

★★½☆ – (2018) – A young man obliterates his dysfunctional family after a slow dissolve involving abuse, drugs, and infrequent haunts. A variation of Amityville II that doesn’t resort to as much corn, but rather tries to depict history in a more straightforward manner. Not always on point, and the Long Island accents are a bit much, but by the end this is wholly effective.

Veronica

★½☆☆ – (2017) – A young woman inadvertently summons a pissed off ghost and wades through one haunting after another. While this does have solid attempts at horror, none ever take hold since they’re always visions without consequences. Worst of all is the rampant stupidity, as characters seem to beg to be put in harm’s way.

Bornless Ones

★★☆☆ – (2016) – A couple moves into a new home and, along with their friends, become terrorized by forces of evil. Not much here could be considered unique, though some of the gore is effective. Moves slow and the characters don’t grip, but at the very least some gruesome scenes are hard to watch.

Insidious: The Last Key

★★☆☆ – (2018) – A woman who can see ghosts returns to her childhood home to confront her original clash with evil. The overall idea might have looked good on paper, as there are a few horror ideas put forth, but one thing that couldn’t have been planned is the incredibly languid pace. Burns too slow for a fourth entry with no new inventions.

Amityville: The Awakening

★½☆☆ – (2017) – A small family moves into a notorious house only to find their invalid brother/son possessed by evil forces. Does what it can to link itself to the original film, but still isn’t any better than the slew of crap with “Amityville” in the title. There’s worse in this lame series, if you can call it a series, but this one turns anything potentially frightening into corn.

A Ghost Story

★★½☆ – (2017) – A man who dies avoids the great beyond and settles into his house where life passes him by. A quietly compelling experience that’s unlike any other film dealing with death, though some scenes would fare better if fast forwarded through. Unique in its subtle design, but in the end doesn’t punch hard enough emotionally to consider more than a moderate art house success.