Writer/director McKee sets the bar pretty high for creepiness in “May.” A modern take-off on the Frankenstein story, “May” is a subtle, slow-burn of a film. After the opening sequence, which shows May’s troubled childhood, it’s obvious the girl is going to lash-out psychotically. The only question is when and how bloody the rampage will be.

Could any movie about rabid, Devil-worshipping hippies be bad? Of course not! “Drink” is easily one of the most high-concept exploitation flicks to come out of the drive-ins of the 1970s. So what if the acting and script are merely competent? That’s better than most of “Drink”’s schlocky brethren, and besides, what else can you expect from a movie about hippies?

After Dennis “Spider” Cleg (Fiennes) is released from the mental institution he’s called home for the last 20 years, his trip down the road to mental health takes a sharp detour when he’s sent to live in a London halfway house in his childhood neighborhood.

Noir doesn’t get much blacker than “Blind Shaft,” a suspenseful little gem that also manages to work in a harsh critique of both socialism and capitalism. But unlike a lot of noir thrillers that feature labyrinthine plots with last-minute surprise revelations, “Blind Shaft” is more about the journey than the destination.