A highly original experiment by Mitchel Lichtenstein, "Teeth" is inspired by a Japanese cult movie by the same topic, titled "Sexual Parasite: Killer Pussy," though filmed into an entirely different setting and atmosphere.

Vengeance porn meets the torture flick in "The Last House on the Left," a new version of Wes Craven's vile 1972 cult horror movie that itself was a rank vulgarization of Ingmar Bergman's 1960 Oscar-winner "The Virgin Spring."

The Haunting in Connecticut is part of the dreary tradition of "real-life" haunted house movies such as "The Amityville Horror," instead of the livelier one of make-believe, such as "The Innocents" or "The Haunting," or the more recent "The Orphanage."

Based on a grim story by up-and-coming Taiwanese director Kevin Ko (柯孟融), “Invitation Only” (絕命派對) has been hailed in local media as Taiwan's first ever slasher film —a sub-genre of the horror repertoire typically involving a psychopathic killer stalking and killing a sequence of young victims in a graphically violent manner.

Michael Bay is destroying horror films by exhuming the genre's standard-bearers, stripping them of genuine terror and conceptual earnest, refusing to either re-create faithfully or reimagine boldly, and upping the irony until the original concept stands rigid like a taxidermied grizzly, its teeth bared and glistening but its presence inanimate, unthreatening and, most of all, sad.

Based on a grim story by renowned horror author Clive Barker (Hellraiser), "The Midnight Meat Train" tells the story of Leon Kaufmman (Bradley Cooper), an aspiring photographer, who delves into the underbelly of New York City, hoping to capture its true colors with his black-and-white camera.

The latest true story adaptation “Dorothy” about a girl with the blessed curse of reliving other people’s deaths is surprisingly straight-forward in a genre that demands plot twists at every turn.

With a history of being construed by viewers as a horror film, brandishing random psychosis as its weapon of choice, Austrian director Michael Haneke has revived his original 1997 film for a mainstream taste-test in what may be yet one more “Funny Game” to read the popular culture interpretations of this sadistic European thriller.

Bryan Bertino’s debut has taken a chilling true story-rendition and chisled out a nail-biting tale of random terror and slaughter.

If you have an ax to grind with someone who harbors a morbid fear of surgery, you couldn’t design a better revenge than taking them to see “Awake.”