Since 2012, the V/H/S franchise has emerged as the definitive, modern horror anthology series. (Sorry, The ABCs of Death, we hardly knew thee.) Unfortunately, save V/H/S/2 and V/H/S/94, few of the collections have offered a compelling reason to rewind and rewatch. Sure, we might revisit “Storm Drain” and “Safe Haven,” but one compelling segment never single-handedly saves an entire film. The series’ latest entry, V/H/S/Beyond, doesn’t feature the best shorts across the entire franchise. It does, however, offer one of the most cohesive experiences yet.

Framed by a mockumentary directed, written and starring Jay Cheel (Shudder’s Cursed Films), the anthology’s interludes explore the viability of two tapes allegedly containing proof of extraterrestrial life. It dials down the intensity of the previous films’ frame narratives, but it’s nonetheless memorable and interesting. It also wraps up with a confusing, albeit creative and stomach-churning climax.

The shorts themselves offer a mix everything. While loose sci-fi seems to be the connective thread, most feel like they could’ve easily been plugged into one of the previous entries. That said, it’s nice to have them all in one flick, even if only a few reach very far “beyond.”

Jordan Downey’s “Stork” and Justin Martinez’s “Live and Let Dive” are the most thrilling entries by a mile. “Stork” is a zombie-filled police raid oozing with [REC] residue. “Live and Let Dive,” on the other hand, pushes the boundaries of found footage through an intense sky-diving sequence. However, its luster wanes a bit, as Martinez overexposes his monsters despite an extremely short runtime. Virat Pal’s “Dream Girl” falls in a similar camp, though what could’ve been the most substantial short quickly descends into a hollow — and hard-to-see — splatter fest.

Christian and Justin Long’s (yes, that Justin Long) “Fur Babies” is perhaps the furthest removed from the overarching theme, but emerges as the most deranged and delightful segment. Imagine if Dr. Moreau and Annie Wilkes from Misery started a doggy daycare business. This inherently goofy premise goes full Tusk, yet unlike Kevin Smith’s podcast-inspired horror, doesn’t overstay its welcome.

V/H/S/Beyond saves the best for last with Kate Siegel and Mike Flanagan’s “Stowaway.” It’s an intriguing look into obsession that features a final shot and prosthetic not far off from the creature effects of 2014’s Spring. It’s also so damn sad, pulling at an emotional cord that most V/H/S stories don’t even consider, let alone try to approach. Even so, “Stowaway” still feels like it could’ve benefited from an extra few minutes and clearer camera work, though addressing the latter could infringe on the short’s level of intimacy.

If anything, V/H/S/Beyond hopefully sets a new standard for what the franchise can be. It sits in that funny space where it doesn’t blow past all other entries, but offers a variety not seen in the previous installments. If you can only pick one anthology film to fill out your Halloween movie marathon, you should just rewatch Creepshow. Though V/H/S/Beyond would be a solid second choice. —Daniel Bokemper

Get it at Amazon.

Who doesn’t love a good old fashioned evil kid movie? From bona fide classics like The Bad Seed and The Omen to “trashier” fare like Bloody Birthday and the underrated Devil Times Five, there’s just something special about seeing prepubescent boys and girls slaughtering those around them.

Situated somewhere below the line of quality and good taste is Mikey, which bears the tagline “Remember, Jason and Freddie [sic] were kids once, too,” which lets you know exactly what kind of movie this is. Though it never gets quite as violent as the films in those franchises, the intent is clear: We’re here to see a psycho child off people in increasingly creative ways.

Mikey never really gets as creatively brutal as it could, giving audiences a movie that no doubt ran mostly uncut on basic cable back in the ’90s. Starring as the titular bad boy is Brian Bonsall, known primarily as the youngest Keaton child on Family Ties and from the Disney fever dream Blank Check. The audience is tipped off pretty quickly that Mikey is disturbed when he kills his entire foster family within the first 10 minutes.

He claims an intruder committed the crimes, and is hurriedly placed with another couple, played by John Diehl and Mimi Craven. The question then becomes: How soon will little Mikey kill again? We don’t have to wait terribly long, as the boy soon becomes obsessively infatuated with his friend’s older sister (Josie Bissett, All-American Murder), and plots to get rid of her boyfriend the only way he knows how. Ashley Laurence of Hellraiser fame plays the boy’s teacher, the only adult who knows something about Mikey just isn’t right.

If you’re looking for a frank exploration of child psychology and patterns of violence, don’t look here. Also, don’t look to Mikey if you prefer that good triumphs over evil in your entertainment, because you won’t find any of that here. Watch this movie only if you’re in the mood for some pure-grade schlock wrapped up in a nasty, 90-minute package. —Christopher Shultz

Get it at Amazon.