“The Domicile” (*1/2 out of four) was a dismal horror thriller about a loutish playwright (Steve Richard Harris) who is desperate to finish a new play and revitalize his career when he finds himself besieged by a mental breakdown from the spirit of his dead wife and his daughter who has become a possessed and raving lunatic. Since his character is never likeable to begin with, it’s hard to care about or get involved in the proceedings. Extremely low-budget thriller is also low on scares and thrills and even lower on originality.

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“Ghost House” (*1/2 out of four) was an umpteenth horror story about both ghosts and a haunted house about a young couple (Scout-Taylor Compton and James Landry Hebert) who go off on a vacation in Thailand but are soon haunted by (yawn) a malevolent spirit after they disrespect a ghost house. Plenty of loud noises, exorcisms, and religious discussions to make sure the filmmakers don’t leave anything out. Yet another horror movie haunted by the ghosts of “The Shining”, “The Exorcist”, and numerous other (better) movies. Only some pretty shots of Thailand give this any distinction whatsoever.

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“Pussy Kills” (* out of four) was an inept death-wish revenge thriller as sleazy and stupid as its title suggests about a young woman (Lina Maya) who is kidnapped, raped, and left for dead by a group of young thugs. She then comes back as a vigilante dressed as (yes) a pussy-cat intent on killing them and restoring justice. Strictly for those who thought “I Spit On Your Grave” or “Last House On The Left” were understated masterworks of cinema. Even the revenge scenes are poorly staged and dumb. Low-budget and low-brain thriller has almost nothing to recommend it, even for fans of sex and gore.

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“Death Note” (** out of four) was a strenuously weird and uneven Netflix adaptation of a manga novel about a high-school student (Lakeith Stanfield) who stumbles across a mystical notebook that has the power to kill anyone whose names he writes in it; upon realizing its powers, he then sets upon a personal mission to rid the city of crime but this leads to him being targeted by the police and the criminal underworld. Odd mix of high-school melodrama, vigilante crime thriller, and criminal underworld story works best in its second half but takes too long to get going and too long to get where it’s going. And speaking of odd- check out Willem Dafoe who plays a goblin assistant to the kid named Ryuk! Stylish touches by director Adam Wingard and lively soundtrack helps.

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“Pure Country, Pure Heart” (**1/2 out of four) was a sincerely done third entry in the “Pure County” series about two young sisters (Kaitlyn Bausch and Cozi Zuellsdorff) who go to Nashville upon finding out that their late father was a country music singer. Predictable at every turn but carried along by the solid chemistry between the two girls and a lot of colorful Nashville scenery. George Strait sits this entry out but Willie Nelson at an ageless 84 years old makes a good musical appearance at the very end. Shawn Michaels and Ronny Cox are solid also in key supporting roles.

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“A Beginner’s Guide To Snuff” (* out of four) was a staggeringly awful horror comedy which makes you wish the filmmakers would take a beginner’s guide to intelligent storytelling; two moron brothers (Joey Kern and Luke Edwards) who wouldn’t be able to get into the McDonald’s School Of Hamburger Knowledge suddenly decide they want to become “snuff” filmmakers and lure a girl (Bree Williamson) to work with them. Don’t say you weren’t warned. Irritatingly stupid and unfunny throwback to grindhouse cinema but there’s a reason most grindhouses are now closed.

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“Unlocked” (**1/2 out of four) was a serviceable but unexceptional spy thriller about a C.I.A. interrogator (Noomi Rapace) who is lured back into the game by her mentor (Michael Douglas- aging but still marvelous) to prevent a deadly biological attack on London but soon realizes she is being double-crossed and has to take it on the run from the London police, a determined administrative chief (John Malkovich), and a rogue agent (Orlando Bloom) who she encounters. Excellent cast and director (Michael Apted) are encumbered by a routine story that moves fast enough but feels “Bourne” again as it covers too much familiar territory. Big twist ending isn’t really much of a surprise.

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“What Happened To Monday?” (**1/2 out of four) was a highly stylish but highly derivative Netflix sci/fi thriller set in another dystopian future in which the government regulates overpopulation by limiting society to one child per family. Seven sisters (all played by Nooma Rapace) avoid detection by the government but when one of them is murdered, they set to uncover answers and find the truth about her death and about society as a whole. Interesting plot elements reminiscent of Phillip K. Dick (“Blade Runner”, “Total Recall”) but unfortunately film fails to fully connect and covers familiar ground. Rapace is terrific as usual but both Willem Dafoe and Glenn Close are wasted in supporting roles. Worth watching for Rapace and also Jose David Montero’s striking cinematography

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“Starship Troopers: Traitor Of Mars” (*** out of four) was a spectacular computer-animated fourth entry in the sci/fi action series that began in 1997 about Federation trooper Johnny Rico (voiced by Casper Van Diem) leading a new group of troopers on Mars when the bugs decide to attack and threaten world destruction. Visually dazzling animation enhances non-stop and eye-popping action but ironically the best scene in the movie is a touching reunion scene in the desert between Rico and former flame Dizz (voiced by Dina Meyer) from the original. Starts to ring hollow after a while but never stops moving. Kudos for bringing back original stars Van Diem and Meyer and original writer Edward Neumaier and for replicating the satiric style of original director Paul Verhoeven in what is probably the most fun entry since the original.

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“Catching The Black Widow” (** out of four) was a languid thriller about a determined New Zealand woman (Aimee Walker) who attempts to find justice for her deceased brother who was murdered by a ruthless woman (Katherine McRae) who has a history of murdering men she is with. It’s unclear if this is a remake of the 1987 Debra Winger/Theresa Russell thriller “Black Widow” but either way- it never fully catches fire. Walker’s first-rate performance is the most compelling thing about the film and makes it worth watching for at least a few scenes. Beautiful New Zealand scenery is well-captured as well.

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