Morgan has its moments, just not enough of them to make up for its ample shortcomings, all of which results in a thriller that doesn’t thrill and a mystery few are going to care to learn the resolution of.

While I can’t say I was as energized by The Purge: Election Year as much as I was the two stories that came before it, I’m still fairly enthused by what it is DeMonaco is doing here, this third chapter in the saga a politically astute meat grinder that’s worthy of a look.

The Conjuring 2 could be better, there’s no denying that. It’s too long and gets too frenzied as it reaches its climax, never digging as deeply under the skin as the first film did. But Wan knows what he is doing, and more often than not this sequel offers up enough in the way of thrills and chills to satisfy.

Krampus is a naughty little movie, and I mean that in a good way, and once again Dougherty proves himself to be crafty genre-bending filmmaker willing to make old school high-concept thrillers the likes of which studios are now reticent to put into production. As Christmas miracles for horror fans go, this is one stocking stuffer certain to be enjoyed for many years to come.

Again, much like the Empire of the Ants / Jaws of Satan Blu-ray released the same day, neither Food of the Gods or Frogs are very good films. Same time, they make for a much better – and far more enjoyable – double feature, both having just enough charm for genre fans to want to give them a look. Scream! Factory’s presentation is surprisingly strong, while the included extras are excellent.

But the joy and the fun found inside of Empire of the Ants is undeniable, the unabashed whacked-out silliness of it all making it one of director Bert I. Gordon’s “better” (and I use that word loosely) cinematic achievements.

Monsters: Dark Continent is in many ways an attempt to transpose Full Metal Jacket or Black Hawk Down levels of realism into what initially appears to be nothing more than a B-grade riff on elements drawn from science fiction stalwarts as diverse as Jurassic Park, War of the Worlds and “The Twilight Zone,” and for my part at least I found this particular meshing of genres and ideas continually fascinating.

Wyrmwood doesn’t reinvent the wheel. It doesn’t shake up the zombie genre so much that it will never be the same afterwards. Yet it’s filled to the brim with indelible moments that joyfully take up space in the memory, showcases sequences of ingenuity and wit that had me rocking back and forth in my seat in total, unrestrained euphoria.

Better, the director stages a climactic siege on a mysterious alien stronghold beautifully, and while there are plot holes to spare and clichés up the wazoo that somehow doesn’t make the finale any less suspenseful and exciting. It’s terrific, energizing stuff, and as silly as it all proves to be I can’t say I wasn’t happily smiling all the same by the time things finally came to their conclusion.