Possibly the most striking thing about how AMERICAN HORROR STORY: ASYLUM has wrapped itself up is that, in a show and season so imbued with a love of and homage to cinema, “Madness Ends” really went to bat for the power of television. Really, Ryan Murphy’s extended, warped odyssey through a Massachusetts mental institution could not have been told any other way. Brutal, soap operatic, involved, indulgent and even massively transformed from beginning to end, ASYLUM laid down with grace via a 60 MINUTES-esque sit down and a horrifying exposé reminiscent of Geraldo Rivera’s own investigations of the squalor at Staten Island, New York’s Willowbrook State School.

The best thing in HANSEL & GRETEL: WITCH HUNTERS isn’t Hansel or Gretel or the witches—though they have their moments—but a character with the deceptively genteel name of Edward. He doesn’t have a big part, but he makes a big impression.

VIDEO DIARY OF A LOST GIRL, the first feature directed by Lindsay Denniberg, is not made for the masses; it’s a completely bizarre, surrealistic art-house film that’s not quite comparable to anything, except perhaps Nobuhiko Obayashi’s 1977 horror phantasmagoria HOUSE.

There's a weirdness to the circumstances of JUG FACE’s plot that doesn't quite take hold of the entire film. That is to say, a bit disappointingly, that a movie about prophetic pottery, incestuous pregnancy and a pit that demands sacrifice is a lot more of a straightforward horror picture than it sounds.

Let’s make this clear: WRONG COPS is a party. Oh, and don’t worry, it’s appropriately blood-infused. While writer/director Quentin Dupieux (STEAK, RUBBER, WRONG) may deny the “experimental” classification, he is certainly known for his authentic filmmaking choices, so expect WRONG COPS to exceed all levels of dissidence.

As a reviewer, there is a level of professional integrity one must consider when reviewing a film whose quality beckons for a complete analytical annihilation. However, my responsibility is to you, the reader and potential customer, who may be drawn in by the DVD or Blu-ray cover that egregiously misuses such phrases as “all star cast,” “unrated director’s cut” and “edge-of-your-seat,” and shows off bound hands and bloody knives.

The heir to the hysterical, frenzied, toweringly at wit’s end, woman-on-the-edge throne is apparent. In MAGIC MAGIC, Juno Temple has lost her mind. We are all the more uncomfortable for it.