Bleed

★★☆☆ – (2016) – A group of friends enter an abandoned prison to prove or disprove the existence of ghosts. The hipster characters get annoying fast, but eventually the horror aspects lead to reasons for their welcomed demise. The plot is a little all over the place, and much of what occurs is absurd, but it’s short and moves fast.

The Golem (2018)

★★☆☆ – (2018) – A woman summons an evil force to protect her village against outsiders, but he turns out a little too evil. While the production values are rock solid, the story is not. The biggest problem is the lack of a connective emotion between the conjured child and his mother, which the conclusion relies on heavily for meaningful impact. Not a hard watch, but hollow.

Red Riding Hood

★½☆☆ – (2011) – A werewolf terrorizes a small village, interrupting an already lackluster love triangle. While the cast and sets are commendable, the plot and character growth is deplorable. Not too hard to get through, but lacks two major components: excitement and romance. Basically Twilight meets Ginger Snaps Back meets a test pattern.

Don’t Kill It

★★☆☆ – (2016) – A demon hunter and an FBI agent try to stop an evil force that hops into whomever kills its host. While Dolph Lundgren makes for a credible lead, and the concept is commendable, the overall output is only mildly engaging thanks largely to woefully overused CGI gore. The seriousness and camp don’t always blend well, either.

Death House

★½☆☆ – (2017) – Two FBI agents try to escape from a prison where unleashed inmates attempt their own break out. Appears promising due to the slew of cult icons involved, but the film itself is an unsightly mess. No character is distinctive, no plot point fuses with another, and no scene of action is clear enough to tell what’s going on. Proof positive that if you don’t have a script, you don’t have a movie.

The Curse of La Llorona

★★☆☆ – (2019) – A small family is stalked by a ghost who has intentions of claiming the children. Though some of the back story is okay, most every fright is either timeworn or predictable. Features far more horror mumbo-jumbo than anything worth retaining, but is never entirely difficult to get through.

The Horror at 37,000 Feet

★★½☆ – (1973) – Plane passengers contend with religious cargo aboard their flight that freezes objects, oozes muck, and implants voices. Never comes close to realistic, which is fine since the deplorable shenanigans make for a truly absurd time. Has wondrous moments of ineptitude while dealing with one of the most shrill female performances in all of film.