“Buried” (*1/2 out of four) was a slipshod suspense psychodrama about a young man (Troy Pindell) who is trying to start life over again in a secluded Florida town and falls in love with a young woman (Nadia Adelay) but his violent past starts to catch up to him and threatens to overtake both of them. Disjointed story goes over all-too-familiar territory and is itself “buried” by its own plot contrivances and cliches. Pindell is sincere in the lead but “Caught Up” with Bokeem Woodbine told a similar story and better almost 30 years ago.

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“Better Call Pops” (0 stars out of four) was a desperately awful psychodrama about a series of violent murders across L.A. but a hard-nosed detective (Marleen Proctor) begins to see a common thread in that all the victims were domestic violence abusers and that the vigilante may be an underworld figure known as Pops (Andrew Chamblin). Sounds promising but is worthless on every level due to inept filmmaking and storytelling. This makes any of the “Death Wish” sequels look like Orson Welles by comparison. “Better Call Film School” would have been a better title for this turkey.

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“House Of Rooms” (* out of four) was an incoherent mess about a desperate television director (Anthony Straeger) who sets up cameras in a house and films a group of guests (Maike Kopka, Tim Torok, Flora Pauer, and others) as they all whine and start to wonder which one of them is a sadistic killer. Four directors are credited for this in-your-face and unpleasant film which (incredibly) rips off “Halloween: Resurrection” and “The Blair Witch Project 2” which were far worse than. Watch “House Of Games” again instead.

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“The Loyalty Test” (*1/2 out of four) was a shabby, contrived suspense melodrama about a group of friends (Jordan Bryant, Dejuan Gibbs, Dequan Ryan, and others) who engage in sexual duplicity and deception with one another which leads to distrust and disloyalty and everyone’s worst instincts rising to the surface. Endless twists and turns don’t amount to anything since you hardly like (or care about) any of the characters. Ryan is good but this one will likely “test” your patience by the end.

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“Dracula In Space” (* out of four) was a desperate sci/fi hodgepodge about a crew of scientific space explorers (Charlotte Reidie, Felipe Chavez, Dominick Krajny, and others) who uncover a lost ship in outer space and climb aboard but soon find that it is inhabited by the bloodsucker himself (Marcus Massey) who is undead and loving it. Incredibly dull and tedious film is similar in plot and themes to “Dracula 3000” but the films it mostly reminds you of (i.e. rips off) are “Alien” and “Event Horizon.” Film doesn’t end so much as stop but it’s doubtful you’ll make it that far.

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“The Hitchhiker Effect” (* out of four) was a stultifying dud about a middle-aged conspiracy nut (Michael Beardsley) who struggles to comprehend the paranormal activity that unfurls when his neighbors (John Bigham and Laverne Onnike Chesson) drop by for a visit. Full of unlikeable and uncharismatic characters rambling moronic dialogue. Film’s combined “effect” is blunt trauma to the intelligence. Watch “The Hitcher” if you want a movie with more originality and more intelligent dialogue.

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“Dr“Drip Drop” (** out of four) was a swank but empty melodrama about several friends (DeJuan Ford, Famecia Ward, Devonta Nathan Miller, and others) who go on a swingers weekend which initially seems like just what they all need but are soon plunged into a deadly whirlpool of jealousy, suspicion, and betrayal. Stylishly made and shot but script is more fizzle than sizzle. You may want to “drop” this one from your list and re-watch “Why Did I Get Married?” instead.

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“Wizard Of Death: Tin Man’s Rise” (* out of four) was a miserable timewaster about a group of friends (Karolina Knight, Connor Horrigan, Megan Roberts, and others) who find themselves in a fight to the death against the Tin Man (James Shenton) whose on a murderous rampage in the woods. Latest in a long run of turning Disney/cartoon icons into horror movies seems fittingly enough like it was made by tin men and is a real bore. Does anyone remember when movies like this used to be fun?

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“Tuner” (** out of four) was a flat-noted suspense melodrama about a deaf piano-tuner (Leo Woodall) whose father (Dustin Hoffman) is hospitalized and he unexpectedly finds a hidden talent for turning his skills to safe cracking but this subsequently turns his entire life upside down. Intriguing storyline is letdown by mundane and banal execution and never really catches fire. Hoffman is wasted and spends most of film in a hospital bed. Even still, this won a few awards at this year’s Toronto International Film Festival

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