Endings are always a challenge when making horror films, but especially in the found-footage subgenre, where coming up with a conclusion that satisfies both the particular demands of this technique and the basic expectations of the audience can be a tricky balancing act. I bring this up not because this review will discuss any details of THE DEVIL INSIDE’s wrapup, but because it will likely be a dealbreaker for many viewers.

BENEATH THE DARKNESS is also beneath Dennis Quaid, though there is some appeal in watching the latest good-lookin’ star try on the psychopath hat in a villainous character turn. His maniacal hijinx as small-Texas-town mortician Vaughn Ely provide a few of the intermittent pleasures in a film that otherwise doesn’t have much of a pulse.

Early in THE DARKEST HOUR, best friends Sean (Emile Hirsch) and Ben (Max Minghella), newly arrived in Russia, discuss the possibility of hooking up with a cute American girl in a local bar. Scoffs Sean, “I could get that at Applebee’s”; clearly he welcomes exoticism, surprise and variety. The same could presumably be said for audiences watching a movie set and filmed on location in a city as unique as Moscow, but everything that happens in THE DARKEST HOUR is…well, let’s just say you could get that at Applebee’s.

For the past 10 years or so, Hollywood has openly embraced the succulent cash grab that is the remake, and for better or for worse, it is here to stay. But was another film version of Stieg Larsson’s serial-murder mystery THE GIRL WITH THE DRAGON TATTOO entirely necessary? The original Swedish movie was a huge hit overseas and made box-office waves with North American audiences as well. So why go see an English-language edition? In summation: David Fincher.

The longtime irony of Roger Corman’s career is that this “Hollywood rebel,” as the title of Alex Stapleton’s enormously entertaining documentary identifies him, launched the careers of so many people who became planted in the Hollywood mainstream. And it feels like almost all of them sat down for Stapleton’s camera to honor and reflect on the man who gave them their start.

Ah…the good old days of the Y2K scare. You might remember everyone around the world fixing up their computers, or heading for the hills to escape the coming doom at midnight of the new Millennium like it was an Orson Welles WAR OF THE WORLDS broadcast. THE MILLENNIUM BUG is a great sendup of the Y2K scare with a retro nod to 1950s monster movies, adding the twist that the “bug” is actually a 1,000-year-old giant insect coming out to prowl.

It’s early in BREAKING DAWN, PART 1 when it clicks: Director Bill Condon (DREAMGIRLS, CANDYMAN: FAREWELL TO THE FLESH) gets it. As Bella’s pre-wedding jitters coalesce into a nightmare, the pictures zooms out quickly to reveal that she and her groom have splattered their guests to bits. Then, right in the thick of its woodland, desperate-to-be-enchanting dream wedding, the film cuts between Bella and Edward (now icons of shallow, heartstopping romance) exchanging their vows, the camera quite literally swoons…and you know that the fourth entry in this most ridiculous of phenomenons will finally throw out any (false) sense of earnestness and reach the dopey, melodramatic and over-the-top heights it always should’ve been aspired to.