Candy Corn

★☆☆☆ – (2019) – A murdered outcast returns to pick off the petty thugs who’ve wronged him. Taking place on Halloween is about the only area worth commending, as everything else is an unwelcome sack of cliches. Absolutely nothing here is remotely original, and comes across as a wannabe Rob Zombie movie with the budget of a gum wrapper.

The Haunting of Sharon Tate

★★☆☆ – (2019) – A pregnant actress has premonitions of her death in the days leading to her infamous murder. Would have worked just as well (or poorly) had the subject in question not been a historical figure, as the plot carries a purposeless vibe that never wavers. It’s not awful from a production standpoint, but the premise feels desperate for controversy.

Clue

★½☆☆ – (1985) – A group of strangers with common blackmail issues gather at a mansion where mysterious murders transpire. There’s only 68-minutes of actual footage before the over-explained conclusions take over, and that scant time is wasted on cardboard characters and woefully inept comedy. Despite so much forced zaniness, this is incredibly dull.

The Disturbance

★★☆☆ – (1990) – An already disturbed man unravels further after a break up with a short term girlfriend. Moves at an even pace while covering a few distinct moments, but it’s rather quiet and the main character is too underdeveloped to warrant so much focus. The brushes with insanity are okay, but in the end nothing here hasn’t been done before.

Ma

★★☆☆ – (2019) – High school kids befriend a woman who lets them party in her basement, but she gradually becomes too involved in their lives. Works best when laying out insanity, but some occurrences are a bit on the silly side. The major problem is the antagonist’s motive, which doesn’t necessitate the brutal outcome.

The Super

★½☆☆ – (2017) – Murders are occurring in an apartment complex, but the assumed instigator isn’t involved in the ways presumed. Though the red herring is obvious, the twist is not, yet this still suffers from never fully developing the characters or premise. Has some okay moments, but by the end feels like a wasted effort.

He’s Out There

★★☆☆ – (2018) – A mother takes her two daughters to a house in the woods where they’re terrorized by a masked madman. While much of this is competently filmed, and the acting is up to snuff, the script could have used a major upgrade before filming began. Never explaining a killer’s direct motive is fine if you want to leave people guessing, but not at the expense of leaving them bored.

All Light Will End

★½☆☆ – (2018) – A young author and her dimwitted friends return to her childhood home where they’re plagued by a mysterious killer. Does everything seen a million times before, and when trying something unique collapses under the weight of sluggishness. Nothing here means anything because no character amounts to anything.