What’s the difference between a typical bad movie and a BEST WORST MOVIE? That’s the question explored by Michael Stephenson’s highly entertaining new documentary, in which he examines the experience of being part of TROLL 2—both during its shooting and in the wake of its years-later cult rediscovery. The festival favorite has begun its theatrical rollout in venues across the U.S. (see details here).

TELL TALE (hitting DVD and Blu-ray May 25 from Genius Products/Vivendi Entertainment) is a movie that serves as a metaphor for itself on a couple of levels. It’s about a physical heart that’s transplanted from one body to another; the script transplants Edgar Allan Poe’s 19th-century classic story “The Tell-Tale Heart” into a 21st-century chiller; and the direction by Michael Cuesta, in concert with the performances, transplants an unusual amount of figurative heart into what could have played as B-movie material.

THE HUMAN CENTIPEDE (FIRST SEQUENCE) is one of the bigger shams to appear on the horror scene in recent years. This isn’t a movie, it’s a 93-minute stunt, one that takes a single idea that could have sufficed as the punchline for a 10-minute short and wraps it in a feature’s worth of ineffective genre tropes and clichés.

To answer the most pressing question first: Jackie Earle Haley does succeed in making the Freddy Krueger character his own in the remake of A NIGHTMARE ON ELM STREET. The new movie would be nothing without the right man in the razor-fingered role that Robert Englund made famous, and Haley’s characterization, coupled with the filmmakers’ slight change in emphasis regarding the role, is a big part of what this reimagining gets right.

Die-hard fans of any multi-installment storyline always want their favorite characters to meet and clash while faced with a transportation problem, new flock of enemies, appropriate barbecue attire…what have you. Just imagine Mace Windu and Lando Calrissian teaming up against the Empire—an unmatched display of smooth-talking, profanity-spewing bad-assery. Such a fate has befallen our favorite four-man teams of zombie hunters, thanks to the fan-friendly folks at Valve Software.

THE DISAPPEARANCE OF ALICE CREED isn’t really a horror movie, but it’s the best thing I’ve seen so far at this year’s Tribeca Film Festival, and is highly recommended to anyone who enjoys a good thriller, and being kept on the edge of their seat by the anticipation of plot twists and character revelations, not just violence. (General audiences will be able to see it when it goes into limited theatrical release August 6 from Anchor Bay.)

The idea of an Asian horror film called POSSESSED calls up all sorts of unpromising and generic associations, but the new Korean chiller of that title (currently playing the Tribeca Film Festival) has more to offer than the expected evil-imbued girl with long dark hair. Lee Yong-joo’s directorial debut works some intriguing wrinkles into the expected formula that give it an edge over the many previous features of its ilk.