There are numerous layers to writer/director Harold Holscher’s subdued, elegantly eerie South African horror yarn The Soul Collector, many of them uncomfortably fascinating.

Scare Package would be a rather decent horror anthology if only it would stop calling attention to how silly and unserious everything is.

Low budget Japanese import One Cut of the Dead is one of those festival favorites that actually lives up to every ounce of the hype.

Infamous a mediocre movie that deserves to fade into oblivion as if it never existed in the first place, the fewer followers it ends up having the more likely that outcome is going to be.

While an ambitious enterprise with royal aspirations to greatness, The King of Staten Island never earned its crown, and as such my fidelity to its ruling authority is practically nonexistent.

Shirley paints the author with an insightfully lush and vibrant brush, her relationship with Rose allowing for a level of empathetic understanding that makes enduring all those ethereal metaphorical ghouls, ghosts and demons magnetically worthwhile.

Like most horror anthologies, the first season of Creepshow is unsurprisingly hit-and-miss. But the hits, most notably “House of the Head,” “The Finger” and “The Man in the Suitcase,” are pretty terrific, while the misses are still just amusing enough to not get all that upset that they’re not nearly as strong as some of their counterparts are.

The High Note is so much fun to watch any issues I have keep evaporating into the ether almost as if they never existed in the first place.

The Vast of Night is a fast-paced genre excursion into the mysterious unknown. It held me breathlessly spellbound for almost 90 minutes, the haunting nature of the questions it enthusiastically asks as prescient and as essential now as they ever were back during the McCarthyism 1950s time period in which this tale is set.