Lets Find Out Top Horror Movies On Netflix
Assessing Netflix’s offerings in 2023 shows a diverse horror library. However, facing competition from services like Shudder, Netflix finds it challenging to keep a comprehensive collection and increasingly relies on its original content each month. Previously showcasing popular movies like The Shining, Scream, Jaws, The Silence of the Lambs, Young Frankenstein, as well as recent indie hits such as The Witch and The Descent. These titles have now been substituted with lower-budget films featuring one-word titles like Demonic, Desolate, and Incarnate.
Netflix offers a variety of quality films, predominantly contemporary ones. These range from comedies
A review of Netflix’s 2023 horror content reveals a wide-ranging library. However, with the rise of competitors like Shudder, maintaining an extensive collection has become a challenge for Netflix. As a result, it is increasingly leaning on its original content each month. While it used to feature popular movies such as The Shining, Scream, Jaws, The Silence of the Lambs and Young Frankenstein along with recent indie successes like The Witch and The Descent, these titles have now been replaced by lower-budget films with one-word titles such as Demonic, Desolate and Incarnate.
like “The Babysitter” to more unique and unsettling titles such as “The Wailing,” “It Follows,” “Apostle,” and recent releases like “His House” and the “Fear Street” trilogy. While you may not find many traditional franchise films similar to “Halloween” or “Friday the 13th”, it’s worth noting series like “The Haunting of Hill House,” “Cabinet of Curiosities,” and “Fall of the House of Usher.” Although these are not technically movies, their significance makes them indispensable on this list. Netflix has particularly excelled in the horror genre through its limited series offerings.
We encourage you to utilize this list as a reference. The films positioned at the bottom are categorized as “fun-bad” – they may have their shortcomings, yet they remain entertaining for various reasons. On the other hand, the top-rated films are undeniably must-watch classics due to their exceptional quality and content.
Top Horror Movies On Netflix
1. The Wailing
Year: 2016
Director: Na Hong-jin
Stars: Kwak Do-won, Hwang Jung-min, Chun Woo-hee
The U.S. title of Na Hong-jin’s movie, The Wailing, focuses more on the tone rather than the sound. While wailing is indeed present throughout, Na cleverly anticipates how viewers will react to the film’s dark scenes depicting a community in spiritual turmoil. Instead of typical horror elements, Na delves into themes of doubt and despair. His goal is not just to scare us but to deeply affect our spirits, mirroring the protagonist’s journey through divine and infernal trials in the movie.
The Wailing is set in Gokseong County, an agricultural community located in South Korea’s southern provinces. This picturesque setting is beautifully captured by Na and his cinematographer, the talented Hong Kyung-pyo, both aesthetically and thematically. The tranquil atmosphere depicted in the opening scenes of The Wailing sets a peaceful tone that Na cleverly disrupts, much like his approach to subverting Bible verses.
The initial complete scene of the movie disrupts the tranquility as Sergeant Jeon Jong-gu (portrayed by Kwak Do-won, delivering a remarkable performance) is summoned to the location of a brutal multiple homicide. Upon Jong-gu’s arrival, chaos reigns; individuals are shouting and weeping, emergency personnel cover the area like ants at a gruesome picnic, and the perpetrator sits in a daze, oblivious to both the chaos and the cruel boils covering their skin.
This film is extremely eerie and often unsettling, but Na is more disturbed by the feeling of disbelief than by the gruesome scenes of dismembered bodies and blood splattered on the wall. When your trusted authority figures let you down, and your perception becomes unreliable, what do you do? Na explores these familiar horror themes in his film, making them its central focus, leading to profoundly grim conclusions.
When The Wailing concludes with its thrilling last half hour, you will pledge to never ponder these inquiries about your own life again. While you may not exit the theater in fear, you will depart with emotional wounds that run deeper than mere fright. —Andy Crump
2. It Follows
Year: 2015
Director: David Robert Mitchell
Stars: Maika Monroe, Keir Gilchrist, Olivia Luccardi, Lili Sepe, Daniel Zovatto, Jake Weary
The ghostly presence of Old Detroit lingers throughout It Follows. Whether it’s in a run-down ice cream stand on 12 Mile, the ’60s-style ranch homes of Ferndale or Berkley, or a game of Parcheesi played by pale teenagers with distinct accents, the film exudes a sense of stale, gray nostalgia reminiscent of Metro Detroit. It Follows doesn’t rely solely on jump scares; instead, it delves into the underlying anxiety that lurks just beneath the surface of consciousness. This movie serves as a poignant metaphor for the inevitability and uncertainty that come with growing up, reminding viewers that their time is limited and safety is never guaranteed. Forget about the typical risks associated with teenage sex—It Follows offers a deeper exploration into the complexities of maturity.
—Dom Sinacola
3. The Babadook
Year: 2014
Director: Jennifer Kent
Stars: Essie Davis, Noah Wiseman
It’s challenging to categorize Jennifer Kent’s first feature film, The Babadook. At first glance, it appears to be a horror movie with unsettling events unfolding in a progressively intense manner. It might seem reasonable to label Kent’s story of a single mother’s strained relationship with her son within the horror genre. However, The Babadook is incredibly intricate and emotionally charged, making it difficult to simply classify it as just a horror film without oversimplifying its depth. There is a significant distinction between what Kent has achieved here and conventional notions of horror. After watching this film, you may find yourself sleeping with the lights on for days. Yet, you will also feel enriched and intellectually stimulated by the experience.
Australian actress-turned-director Kent delves into themes of childhood, adulthood, and the persistent anxieties that haunt us throughout different stages of life in this movie. While there are monsters lurking in various places like closets and under beds, the true focus lies on the emotional struggles faced by the characters. These challenges are exacerbated by the intangible malevolence residing in their darkest thoughts; dealing with personal trauma becomes even more daunting when coupled with supernatural fears creeping from every shadowy corner.
. —Andy Crump
4. Train to Busan
Year: 2016
Director: Yeon Sang-ho
Stars: Gong Yoo, Ma Dong-seok, Jung Yu-mi, Kim Su-an, Kim Eui-sung, Choi Woo-shik, Ahn So-hee
Whether you adore or despise them, zombies continue to be a fundamental element of the horror genre, so dependable that you could rely on their presence like clockwork. While I have watched my fair share of independent zombie films and am currently inclined to avoid them in the near future, there tends to be at least one exceptional zombie movie every other year. In 2016, that exceptional film was Train to Busan, securing its position on our compilation of the 50 Best Zombie Movies of All Time. It is undeniable that Train to Busan rightfully earned its place on the list. This South Korean production follows a father striving for success in his career while safeguarding his daughter amidst a swarm of zombies aboard a train. The film skillfully combines thrilling entertainment with poignant family conflicts. It introduces fresh action sequences not previously seen in zombie movies, demonstrating innovation within the genre. With memorable supporting characters and impressive makeup effects, this movie stands out as one of the premier zombie films from recent times.
—Jim Vorel
5. His House
Year: 2020
Director: Remi Weekes
Stars: Wunmi Mosaku, Sope Dirisu, Matt Smith
Movies that shy away from embracing horror can diminish the impact of the genre. While horror films have a variety of techniques to frighten audiences, it is essential for a horror movie to strive to be genuinely terrifying rather than merely playing with fear. Remi Weekes’ His House does not hold back on delivering scares. The film begins with a tragic event and swiftly establishes a chilling atmosphere, surpassing even iconic horror movies like The Grudge in its ability to create spine-tingling moments. In addition to providing scares, His House delves into the deep grief inherent in immigrant narratives, resonating with themes commonly found in contemporary independent cinema such as Jonas Carpignano’s Mediterranea. Weekes adeptly portrays the challenges faced by immigrants during their journeys and upon arrival at their destinations with raw authenticity. By delving into the characters of Bol and Rial, exploring their backgrounds, motivations, and sacrifices, Weekes keeps viewers on edge throughout the film with suspenseful moments that are sure to make them jump out of their seats.
6. The Haunting of Hill House
Year: 2018
Director: Mike Flanagan
Stars: Henry Thomas, Michiel Huisman, Carla Gugino, Elizabeth Reaser, Oliver Jackson-Cohen, Kate Siegel, Victoria Pedretti
The aesthetic of The Haunting of Hill House not only excels as a horror TV show but also serves as a skillful adaptation of Shirley Jackson’s renowned novel. The presence of monsters, ghosts, and eerie occurrences is subtly hinted at through off-screen elements, minimal visibility, or shadows. The series cleverly incorporates camera movements and shot designs reminiscent of the original film adaptation to evoke unease and unpredictability. While the term “inconsistency” may not fully capture the experience, viewers are kept on edge, constantly questioning reality and falling into the narrative’s unsettling grip. By embracing discomfort over quick scares and allowing scenes to unfold gradually, The Haunting of Hill House effectively crafts disturbing scenarios that linger with viewers long after watching.
7. The Fall of the House of Usher
Year: 2023
Director: Mike Flanagan
Stars: Bruce Greenwood, Mary McDonnell, Carla Gugino, Kate Siegel, Henry Thomas, Zach Gilford, Carl Lumbly, Mark Hamill
In the realm of horror, Mike Flanagan is a standout figure with a unique approach. He goes beyond traditional scares, delving into our deepest emotional vulnerabilities and hidden desires. It’s like he’s guiding an expedition through your subconscious, touching on all facets of the human experience. From struggles with faith to love stories to facing mortality, Flanagan turns these experiences into chilling works of art. His domain isn’t just about fear; it’s intricately tied to the human condition, which can be more unsettling than realizing you’re out of coffee on a Monday morning!
Although The Fall of the House of Usher is primarily inspired by Edgar Allan Poe’s famous short story about the Usher siblings, Flanagan adeptly weaves in elements from several of the author’s other renowned works, including “The Tell-Tale Heart,” “The Raven,” “The Murders in the Rue Morgue,” “The Masque of the Red Death,” “The Black Cat,” and more. Throughout the series, viewers will encounter numerous references to Poe, from character names to complete poetry recitations. The overall storyline of the show reflects Poe’s enduring interest in themes such as guilt, death, paranoia, obsession, and delusion. Combining elements of horror with a Succession-like narrative and contemporary moral lessons, The Fall of the House of Usher offers a darkly humorous critique on extreme wealth while also exploring a family’s gradual emotional unraveling as its members are lost one by one.
—Lacy Baugher Milas
8. Midnight Mass
Year: 2021
Director: Mike Flanagan
Stars: Zach Gilford, Kate Siegel, Kristin Lehman, Samantha Sloyan, Henry Thomas, Hamish Linklater
On Midnight Mass of Crockett Island, every inhabitant carries the weight of misfortune. The recent oil spill has wreaked havoc on the local fishing industry, nearly decimating the fish population. Neglected residences on the island are crumbling in the face of the unforgiving ocean conditions. Numerous residents have departed in pursuit of improved prospects, with only a handful remaining. Hope is in short supply as a significant storm looms on the horizon, with just two ferries linking them to the mainland.
Everything after this point in the seven-episode series contains significant spoilers. However, it is worth noting that Midnight Mass, a creation of Mike Flanagan known for The Haunting series, explores the supernatural realm with a focus on internal introspection rather than external excitement. The show delves into themes such as claustrophobia within its setting and the inner conflicts of its characters, addressing issues like addiction, hidden pasts, forgiveness, and faith. It skillfully examines Catholic guilt and delves into group psychology and the intricacies of leadership in a vulnerable community. Midnight Mass encourages viewers to contemplate the fine line between miracles and paranormal events, prompting them to question their beliefs akin to doubting Thomas or steadfast believers.
9. Creep
Year: 2014
Director: Patrick Brice
Stars: Mark Duplass, Patrick Brice Rating: R
“Creep” is an indie horror film that, despite its predictability, offers a delightful twist. This film marks the directorial debut of Brice, who is recognized for his contribution to “The Overnight.” The movie features the skilled actor Mark Duplass and explores the relationship between two characters – an unsuspecting videographer and a covertly unstable hermit who employs him to record his secluded life in a remote cabin. The success of the film largely depends on its powerful performances, especially Duplass’s depiction of the disturbed character who disrupts the protagonist’s life. Even though seasoned genre enthusiasts may find some elements familiar, it provides an engaging narrative propelled by the captivating interaction between its lead characters, evoking memorable moments from films such as “Ex Machina.”
—Jim Vorel
10. X
Year: 2022
Director: Ti West
Stars: Mia Goth, Jenna Ortega, Brittany Snow, Owen Campbell, Kid Cudi, Stephen Ure, Martin Henderson
“X” marks a notable and surprising comeback for director Ti West, who was once considered a promising horror filmmaker but has spent the last decade primarily directing television. His return to the big screen, through an A24 reinterpretation of the classic slasher genre intended as the start of a new trilogy or more, is one of the most striking revivals in recent horror history. “X” blends familiar elements with unique twists, offering a depth of theme and satisfaction that sets it apart from its contemporaries. Despite numerous attempts at retro slasher styles in recent years, few have managed to capture the tension, suspense or emotional depth that “X” packs into its many scenes. The film skillfully draws viewers into its characters’ experiences and vulnerabilities while also creating sympathetic “villains,” whose motivations become increasingly clear as part of a larger narrative about how cinema shapes society. With captivating cinematography, superior sound design and characters who evolve beyond their initial archetypes for seasoned horror fans, “X” provides a contemporary reflection on the brutal violence found in Mario Bava’s or Lucio Fulci’s works—revitalizing old hits with relevance and rawness for today’s audience. In 2022, this film is indeed an exceptional contribution to slasher cinema.
—Jim Vorel
11. I’m Thinking of Ending Things
Year: 2020
Director: Charlie Kaufman
Stars: Jessie Buckley, Jesse Plemons, Toni Collette, David Thewlis
Many viewers may consider stopping I’m Thinking of Ending Things shortly after it begins. A series of quick transitions show various rough shots depicting the inside of a farmhouse or an apartment, or even the interior within an interior. A woman, who has not been introduced yet, is in the middle of narrating something without any prior context. This creates a sense of unease and discomfort. Something feels amiss, deviating from the typical expectations of how movies should unfold.
Finally, the woman portrayed by Jessie Buckley is depicted standing on the street as fluffy snowflakes begin to descend, creating a scene reminiscent of being inside a 3-D snow globe with her. She gazes up at a window several stories above, where an old man and Jesse Plemons are looking down. In the next shot, we see Jesse Plemons picking up Jessie Buckley in his weathered car. The movie’s music adds twinkling and swirling elements to the scene as Jessie Buckley’s character, Lucy or Lucia or Amy, contemplates ending things with Jake, played by Jesse Plemons.
Things seem to be heading in an uncertain direction, as Jake drives the car and engages in conversation. His actions appear consistent until a sudden change occurs, like an unexpected gesture from a different persona. Louisa or Lucy is described as vibrant, with a wealth of personality, knowledge, and interests. However, there are moments when she becomes reserved or quiet, transforming into someone with possibly altered memories and interests. At times she identifies as a painter or physicist, or neither. Jessie and Jesse are both impressive individuals whose performances and characters defy easy description.
The top movie of 2020 defies traditional movie conventions. Instead of aiming to be a typical great film, it delves into exploring the complexities of the human mind using various cinematic techniques. The film’s self-awareness could have been overwhelming, but it serves as a central theme that everything within the film revolves around. It challenges clichés about life embracing both its beauty and ugliness, as well as the notion that “love conquers all.” These ideas are present in the film but are ultimately rejected or seen as fleeting illusions hovering at its edges.
—Chad Betz
12. Crimson Peak
Year: 2015
Director: Guillermo del Toro
Stars: Tom Hiddleston, Jessica Chastain, Mia Wasikowska Rating: R
Crimson Peak adheres to the conventions of gothic romance intentionally: “I created this film to both present and subvert some of the typical tropes, while still following them, of the gothic romance,” del Toro explains in the Arrow Blu-ray’s audio commentary track. This insight occurs during the initial interaction between his main character, Edith Cushing (Mia Wasikowska), and her first suitor, Sir Thomas Sharpe (Tom Hiddleston), a baronet who has traveled to America to seek approval from her father, wealthy magnate Carter Cushing (Jim Beaver), and secure financial support for his clay-mining invention. The dialogue exchange between Thomas and Edith in this particular moment is pivotal in conveying the film’s objectives: “I apologize,” he remarks upon noticing a manuscript on her desk. “I don’t intend to intrude, but this appears to be a work of fiction, correct?”
It is her fiction, a piece she has written for publication in The Atlantic Monthly. The story captures his attention with just a glance. “Ghosts,” he comments with an enigmatic smile. Edith quickly defends herself, explaining that the ghosts are merely a metaphor. However, Thomas continues to express his fascination with ghosts, mentioning that they are not to be taken lightly where he comes from. Edith is flattered by his interest and excitement shines on her face as she finds a kindred spirit who shares her passion for spirits. With Thomas, she can freely discuss ghost stories without having to compromise as she does with others. And so can Crimson Peak.
Del Toro loves the production elements of gothic romance; he is fascinated by the grandeur, the drama, and the costumes. These elements provide him with a sense of formality because Crimson Peak does not hold back. The audience quickly grasps the nature of the film from the very first shot of Edith’s face, marked by visible wounds, and from the subsequent scene where young Edith (Sofia Wells) encounters her late mother’s ghostly figure in the dead of night. Crimson Peak is not concerned with pleasing everyone or aiming for broad appeal. Its focus is on unsettling its viewers. Considering that “horror” encompasses a wide range of styles and approaches, the ultimate goal should always be to leave audiences feeling a strong urge to keep their lights on while sleeping.
—Andy Crump
13. Cabinet of Curiosities
Year: 2022
Directors: Guillermo Navarro, David Prior, Jennifer Kent, others
Stars: Tim Blake Nelson, Andrew Lincoln, Essie Davis, F. Murray Abraham, others
When first diving into Netflix’s new Cabinet of Curiosities, one may naturally question the extent to which this project is truly a Guillermo del Toro endeavor. The horror anthology series is presented by the streaming service as “a collection of the Oscar-winning filmmaker’s personally selected stories, described as both sophisticated and chilling,” with del Toro himself taking on the role of host, unveiling treasures from the titular cabinet to introduce each story. However, do the individual segments hold their own against their association with such a renowned director? Do the two episodes that GDT contributed to writing manage to leave his mark on the series? And does the artistry displayed in other episodes measure up to a similar level of excellence?
To cut to the chase: I didn’t need to worry. “Cabinet of Curiosities” is a truly stunning collection of stories, showcasing impressive visuals, production design, and overall cinematic artistry that stands out in the world of streaming. While the tales may lean towards the conventional side, they shine thanks to exceptional filmmaking skills and professionalism overseen by some of the genre’s top talents. It’s a rare instance where an anthology series can assure me that a respected host/producer personally endorsed all these filmmakers’ work, and I wholeheartedly believe it. As I watch these episodes, I can picture del Toro smiling in approval.
—Jim Vorel
14. Creep 2
Year: 2017
Director: Patrick Brice
Stars: Mark Duplass, Desiree Akhavan, Karan Soni
Creep was not a movie begging for a sequel. About one of cinema’s more unique serial killers—a man who seemingly needs to form close personal bonds with his quarry before dispatching them as testaments to his “art”—the 2014 original was self-sufficient enough. But Creep 2 is that rare follow-up wherein the goal seems to be not “let’s do it again,” but “let’s go deeper”—and by deeper, we mean much deeper, as this film plumbs the psyche of the central psychopath (who now goes by) Aaron (Mark Duplass) in ways both wholly unexpected and shockingly sincere, as we witness (and somehow sympathize with) a killer who has lost his passion for murder, and thus his zest for life. In truth, the film almost forgoes the idea of being a “horror movie,” remaining one only because we know of the atrocities Aaron has committed in the past, meanwhile becoming much more of an interpersonal drama about two people exploring the boundaries of trust and vulnerability. Desiree Akhavan is stunning as Sara, the film’s only other principal lead, creating a character who is able to connect in a humanistic way with Aaron unlike anything a fan of the first film might think possible. Two performers bare it all, both literally and figuratively: Creep 2 is one of the most surprising, emotionally resonant horror films in recent memory. —Jim Vorel
15. Thanksgiving
Year: 2023
Director: Eli Roth
Stars: Patrick Dempsey, Addison Rae, Nell Verlaque, Milo Manheim,
The film “Creep” did not necessarily need a sequel as it introduced audiences to an unusual serial killer who forms personal relationships with his victims before eliminating them as part of his ‘art’. The original 2014 movie stood strongly on its own. However, “Creep 2” is an exceptional sequel that aims for depth rather than mere repetition. This film delves deeply into the psyche of the main character, now known as Aaron (portrayed by Mark Duplass), in ways that are both unexpected and genuinely startling. We witness a murderer who has lost his passion for killing and subsequently, his zest for life.
The movie takes a unique approach by shifting away from its horror genre roots to focus more on the dynamics of trust and vulnerability between two characters. Desiree Akhavan’s portrayal of Sara is particularly noteworthy, as she skillfully portrays a character who forms a deep human connection with Aaron, challenging viewers’ expectations. With both actors baring themselves emotionally and physically, “Creep 2” emerges as a remarkably surprising and emotionally resonant horror film in contemporary cinema.
16. Fear Street Part 1: 1994
Year: 2021
Director: Leigh Janiak
Stars: Kiana Madeira, Olivia Scott Welch, Benjamin Flores Jr., Julia Rehwald, Fred Hechinger, Maya Hawke
Quite charmingly, Thanksgiving is a feature-length expansion on Roth’s fake trailer which preceded screenings of Quentin Tarantino and Robert Rodriguez’s Grindhouse double feature back in 2007. Growing up in Newton, Massachusetts (not terribly far from the film’s, and the Mayflower’s, location of choice) and loving horror and slasher films, Roth and his childhood friend Jeff Rendell (who wrote the screenplay) always wished for a Thanksgiving-themed horror film to finally roll out and make Massachusetts proud. It’s incredibly sweet, then, that Roth’s wish finally came to fruition 16 years after that Thanksgiving trailer—and that the film it turned into is handily Roth’s best since 2015’s Knock Knock. The kills in Thanksgiving are not just fun and creative, but shockingly brutal; the kind of crunchy, touchable horror-movie brutality that feels far too sparse in mainstream American horror—even noticeably CGI blood fountains look perfectly acceptable. The impact is bolstered by some impeccable sound design, atmospheric tension and misdirection—as in the case of Security Guard #2, whose gutting-by-electric knife catches you off-guard in a well-earned jump scare. There are also hilarious logical improbabilities that aren’t actually a detriment but an asset, such as the town agreeing to continue to hold their annual Thanksgiving parade despite the presence of an active serial killer who is murdering people in particularly demented ways. The real trailer for the real Thanksgiving looked ridiculous and clearly in on the joke to some extent. And while the film in its entirety very much is, it also plays the material earnestly. Roth and Rendell find the perfect balance of humor and horror, understanding the absurdity of their premise while still making their characters buy into the world. What that creates is a film embracing its own silliness, free of irony, while avoiding the pitfalls of oversentimentality. The characters are scared shitless of a guy dressed up as a pilgrim hacking peoples’ heads off and, somehow, we are a little bit, too.–Brianna Zigler
17.Gerald’s Game
Year: 2017
Director: Mike Flanagan
Stars: Carla Gugino, Bruce Greenwood
Director Mike Flanagan’s adaptation of Gerald’s Game streamlines the narrative, focusing on core themes by removing some of the more peculiar aspects from Stephen King’s original novel. The end result is a gripping and efficient thriller that showcases the talents of actors Bruce Greenwood and Carla Gugino. Flanagan has a history of delivering quality horror films, with a consistent emphasis on strong female leads dating back to his earlier works like Absentia and culminating in recent hits such as Oculus, Hush, and Ouija: Origin of Evil. This recurring theme suggests a deliberate choice by the director to explore women’s struggles for independence while confronting their past traumas. His affinity for such stories makes him a natural fit for Gerald’s Game, a modest yet compelling thriller that benefits greatly from its lead performers’ ability to tackle its demanding dramatic challenges.
. —Jim Vorel
18. Oats Studio – Vol. 1
Year: 2017
Director: Neill Blomkamp
Stars: Sigourney Weaver, Carly Pope, Dakota Fanning, Steve Boyle
Originally released on YouTube throughout 2017, this is a compilation of experimental sci-fi and horror short films from Neill Blomkamp, the director of District 9. These shorts, though well-funded, serve as potential concepts for future feature film projects. Oats Studio was created by Blomkamp to test practical VFX and explore his more unconventional ideas. Each major project within the studio showcases impressive creativity. For instance, the sci-fi film Rakka envisions Earth under siege by telepathic reptilian aliens while human survivors struggle in a seemingly hopeless resistance. Firebase follows a soldier confronting a reality-bending “River God” amidst a Southeast Asian military conflict. However, the standout is Zygote, a horror piece starring Dakota Fanning as a researcher fleeing from a grotesque creature that has overtaken her facility – reminiscent of The Thing and the PC game Carrion. The monstrous entity in Zygote, composed of numerous human limbs, stands out as one of the most twisted creatures in recent horror memory. This short film truly deserves wider recognition among audiences.
—Jim Vorel
19. Apostle
Year: 2018
Director: Gareth Evans
Stars: Dan Stevens, Lucy Boynton, Mark Lewis Jones, Bill Milner, Michael Sheen
After the first two entries of The Raid made him a monolithic figure among action movie junkies, Apostle functions as the wider world’s introduction to the visceral filmmaking stylings of Welsh director Gareth Evans. Where his first films almost had the aesthetic of a videogame come to life—they’re about as close to a big screen adaptation of Streets of Rage as you’re ever going to find—Apostle might as well represent Evans’ desire to be taken seriously as a visual director and auteur. To do so, he’s explored some well-trodden ground in the form of the rural “cult infiltration movie,” making comparisons to the likes of The Wicker Man (or even Ti West’s The Sacrament) inevitable. However, Apostle forces its way into the year-end conversation of 2018’s best horror cinema through sheer style and verve. Every frame is beautifully composed, from the foreboding arrival of Dan Stevens’ smoldering character at the island cult compound, to the fantastically icky Grand Guignol of the third act, in which viscera flows with hedonistic abandon. Evans knows exactly how long to needle the audience with a slow-burning mystery before letting the blood dams burst; his conclusion both embraces supernatural craziness and uncomfortably realistic human violence. Gone is the precision of combat of The Raid, replaced by a clumsier brand of wanton savagery that is empowered not by honor but by desperate faith. Evans correctly concludes that this form of violence is far more frightening. —Jim Vorel
20. The Platform
Year: 2019
Director: Galder Gaztelu-Urrutia
Stars: Iván Massagué, Zorion Eguileor, Antonia San Juan, Emilio Buale Coka, Alexandra Masangkay
The Platform’s appeal largely stems from its straightforward, high-concept premise and the deliberate omission of certain details. The reasons behind people’s placement into this sinister vertical prison, where the only daily sustenance is a descending slab laden with increasingly unappetizing food, are not disclosed. Similarly, the operational details of this apparent social experiment remain vague despite recurring glimpses of chefs meticulously preparing dishes for the condemned prisoners – a detail likely intended to pique viewers’ curiosity.
However, what truly matters is observing diverse human responses to adversity – whether it be an “us versus them” mindset, predatory hunger or sudden altruism. The ever-changing positions of prisoners serve as both an incentive for change and a near-irresistible temptation to act selfishly due to mistrust.
While one might anticipate a nihilistic undertone in such circumstances, there are also occasional glimmers of hope that add depth and complexity to the narrative. These faint signs of optimism may serve as poignant reminders of humanity amidst despair.
—Jim Vorel
21. Dawn of the Dead
Year: 2004
Director: Zack Snyder
Stars: Sarah Polley, Ving Rhames, Jake Weber, Mekhi Phifer, Ty Burrell
Zack Snyder’s most acclaimed film surprisingly deviates from his typical style. While remaking one of the most cherished zombie narratives might seem like a safe commercial choice, Snyder’s approach was both daring and ambitious. Unlike Savini’s Night of the Living Dead, which aimed to faithfully recreate the spirit of the original, Snyder’s Dawn of the Dead is a unique interpretation that swaps much of Romero’s societal critique for a streamlined, action-filled modern zombie story.
The film owes much to 28 Days Later, particularly in its depiction of zombies. Its introduction of “fast zombies” was seen as groundbreaking at its release and added an exciting dynamic to Romero’s universe. This innovation reflects the movie’s intense energy and vibrancy.
The film starts with an unforgettable opening sequence that plunges viewers into chaos as Sarah Polley’s character Ana wakes up to find civilization collapsing in a bloody frenzy around her. The characters who take refuge at the mall are well-developed, especially security guard C.J., who initially appears as a main antagonist but eventually redeems himself – an unusual character arc for this genre.
—Jim Vorel
22. 30 Days of Night
Year: 2007
Director: David Slade
Starring: Josh Hartnett, Melissa George, Danny Huston, Ben Foster, Mark Boone Junior
With the popularity of sparkly, emo vampires among tweens and slash/fic enthusiasts, the film adaptation of Steve Niles and Ben Templesmith’s comic book miniseries, 30 Days of Night, can be viewed as a refreshing change for true horror fans. Unlike the typical tragic or misunderstood monsters, the vampires in this movie—led by Danny Huston’s ruthless Marlow—are depicted as savage, merciless bloodsuckers. Despite the lackluster performance by town sheriff Josh Hartnett on screen, the film effectively conveys the terror of a small Alaskan town under siege by these voracious creatures with dawn still a month away. The setting creates an atmosphere of despair rarely seen in horror films.
—Scott Wold
23. Malignant
Year: 2021
Director: James Wan
Stars: Annabelle Wallis, Maddie Hasson, George Young, Michole Briana White
There is no doubt that writer/director James Wan’s debut film, Saw from 2003, was a massive success in the horror genre. The film’s popularity led to multiple sequels and established itself as a prominent entry in the genre. Wan repeated this success with the Insidious franchise and later with the Conjuring universe. It was not surprising that his latest horror film, Malignant, left me impressed by his mastery of the genre. The movie feels like a unique horror experience akin to “I’ll Be Home for Christmas.” After several years since Wan’s last genre project, it is refreshing to see him return with Malignant, even if the content is more unconventional and bizarre than his previous works.
Malignant follows the story of Madison (played by Annabelle Wallis), a pregnant woman who is deeply affected by a severe instance of abuse from her husband. This event triggers a series of occurrences, starting with unexplained bleeding from the head and leading to terrifying visions of murder that turn out to be shockingly real. This is a movie that should not be spoiled – as the pieces of the puzzle come together, you’ll realize it’s worth experiencing without prior knowledge. Initially, the film may seem slow-paced in the beginning. I even questioned whether I would end up disliking it due to its pacing alone during the first half. However, around the 40-minute mark, I found myself becoming more engaged with the storyline that initially didn’t capture my interest. The initial part may feel slightly confusing and requires you to pay close attention to its limited exposition provided.
The experience initially left a sour taste, I must admit, but like any well-crafted game, it ultimately proved to be rewarding after the anticipation. The storyline became more coherent, loose ends were resolved – and the pace escalated rapidly from zero to 60. As consistently demonstrated throughout the Saw series, Wan excels in delivering unexpected twists and Malignant certainly doesn’t disappoint in this aspect. There are numerous nods to other works in Malignant – did anyone else notice a bold electro rendition of “Where Is My Mind” by the Pixies accompanying nearly every violent scene? However, primarily the movie serves as a heartfelt tribute from a writer/director to his own history. It pays homage to his early career days and roots. At this stage, he rightfully deserves recognition for his work, and I’m pleased that the outcome marks a return to his signature style. Understanding Wan’s style is key to appreciating him (for the most part), and Malignant is no different… as long as you’re willing to see it through till the end.
–Lex Briscuso
24. Vivarium
Year: 2020
Director: Lorcan Finnegan
Stars: Jesse Eisenberg, Imogen Poots
“Vivarium” is a unique real estate-themed film that takes first-time homeowners Tom, played by Jesse Eisenberg, and Gemma, portrayed by Imogen Poots, on an unexpected journey. This low-key science fiction film echoes the style of early David Cronenberg and is directed by Lorcan Finnegan. The narrative also serves as an allegory for relationships as Tom and Gemma find themselves trapped in a stylish neighborhood filled with identical houses where starting a family becomes an imposed obligation rather than a choice. Although it lacks the gruesome elements found in films like “Shivers”, its surreal design and sense of despair make it deeply impactful.
Eisenberg and Poots dominate the screen as their characters struggle to adapt to their new environment where they are constantly watched, manipulated, and disturbingly cared for by unseen forces. Released in 2020, the themes of repetition and despair resonate strongly with audiences given current events. The film incorporates genre elements gradually which add to its intentionally artificial design.
The movie features startling sound effects, unusual color schemes, and several surprising moments that contribute to making “Vivarium” a compelling tale reminiscent of top-tier Twilight Zone episodes.
—Jacob Oller
25. Cargo
Year: 2018
Directors: Yolanda Ramke, Ben Howling
Stars: Martin Freeman, Simone Landers, Anthony Hayes, David Gulpili, Susie Porter, Caren Pistorius
The genre of zombie apocalypse has been explored extensively across various mediums, from television to cinema. Among these explorations, some stand out for their creativity, while others are simply passable or even subpar. “Cargo,” a directorial collaboration between Yolanda Ramke and Ben Howling, falls into the category of being more than just passable but not quite groundbreaking. It’s certainly worth watching on Netflix if you’re interested in seeing a family’s struggle for survival amidst the threat of zombies in the isolated Australian Outback.
Martin Freeman portrays Andy, a determined husband to his wife Kay (played by Susie Porter), and a devoted father to their daughter Rosie. The family is navigating towards safety on a houseboat when an unexpected zombie bite forces them to change course, leading them down a tragic path.
“Cargo” deviates from typical horror expectations; it isn’t particularly frightening but instead creates an atmosphere filled with melancholy and despair. If this emotional depth isn’t enough to captivate viewers, then they might appreciate the impressive special effects used in portraying zombies as victims of debilitating illness rather than mere gore-filled creatures.
In “Cargo”, zombies ooze with waxen fluid from their eyes and mouths – an image that replaces traditional splatter with something more unsettling yet less repulsive. Despite its gruesome elements, “Cargo” is more heart-wrenching than stomach-churning.
—Andy Crump
26. Under the Shadow
Year: 2016
Director: Babak Anvari Stars: Narges Rashidi, Avin Manshadi, Bobby Naderi, Ray Haratian, Arash Marandi
Throughout most of the movie, Babak Anvari skillfully creates a suffocating historical drama, a unique horror film that vividly captures the sense of confinement in Iran during its turbulent post-revolution era. Anvari, who comes from a family that eventually escaped the rule of the Ayatollah, has produced Under the Shadow as both an act of defiance and a tribute to his own mother. The film carries strong feminist undertones: Shideh (played by Narges Rashidi) is portrayed as a resilient heroine standing up against formidable adversaries—a horror movie archetype that gains even more significance within this context. Witnessing Shideh challenge the Khomeini regime by secretly watching a banned Jane Fonda workout video is just as impactful as seeing her confront her inner struggles while safeguarding her child from a more tangible threat.
—Brogan Morris
27. Cam
Year: 2018
Director: Daniel Goldhaber
Stars: Madeline Brewer, Patch Darragh, Melora Walters, Devin Druid, Imani Hakim, Michael Dempsey
As demonstrated by numerous films in 2018, the personas we craft online—those we nurture and develop digitally, often at the expense of our real-life pursuits—will eventually outgrow us. Daniel Goldhaber’s Cam, inspired by Isa Mazzei’s screenplay (which draws from her own experiences as a sex worker), delves into this unsettling reality: that these constructed identities are never truly under our control; the more authentic they appear, the less ownership we have over them. Meet Alice (played by Madeline Brewer), an ambitious camgirl who copes with the demanding pressures of online fame (and financial stability) through shocking performances and a strict code governing her actions as a female fantasy figure. While she supports her family financially without disclosing her true profession to them, she strives for even greater success by navigating the competitive hierarchy set by the broadcasting platform she uses for her shows.
With skillful precision, Mazzei’s screenplay adeptly introduces the challenges of camgirl life without passing judgment on Alice’s career choice. Instead, it portrays the disclosure to her family not as a source of shame, but as a deep-seated struggle faced by every sex worker seeking validation. The narrative explores the complexities of identity and vulnerability in an online world where appearances can be deceiving and dangers lurk beneath the surface.
—Dom Sinacola
28. The Ritual
Year: 2017
Director: David Bruckner
Stars: Rafe Spall, Arsher Ali, Robert James-Collier, Sam Troughton
“The Ritual” is a notable entry in the “bro horror” subgenre. The narrative revolves around a group of close friends who are grieving the loss of their companion, tragically killed during a violent liquor store robbery. Luke (Rafe Spall), present at the scene but unable to act, carries immense guilt over his friend’s death – a sentiment shared by his peers to varying extents. Their subsequent hiking trip in Sweden seems less about memorializing their deceased friend and more about testing if their friendship can survive this tragedy.
The film’s technical prowess, particularly its imagery and sound design, sets it apart from others in its genre. Cinematographer Andrew Shulkind’s clear images and deep focus provide an aesthetic contrast to many contemporary horror films’ darker visuals. The stunning forest location shots add an element of mystery that remains engaging throughout most of the film.
Director David Bruckner showcases his knack for subtlety and suggestion here, supported by exceptional sound design that amplifies every rustle and creak within the forest setting. However, despite being intended as character-driven storytelling, “The Ritual” falls short due to underdeveloped characters and an ending that fails to sustain the atmosphere built up earlier.
Nevertheless, with its striking visuals and memorable monster design – one of recent cinema’s most surprising – “The Ritual” is worth watching for these elements alone.
—Jim Vorel
29. Fear Street Part Three: 1666
Year: 2021
Director: Leigh Janiak
Stars: Kiana Madeira, Ashley Zukerman, Gillian Jacobs, Olivia Scott Welch, Benjamin Flores Jr., Darrell Britt-Gibson
The initial two films in Netflix’s Fear Street trilogy, directed by Leigh Janiak, have been widely recognized and lauded as engaging “popcorn entertainment” and “simple fun”. This is a refreshing departure from the recent trend of more serious arthouse horror. While it’s true that none of the three Fear Street films are pretentious or overly sophisticated, categorizing them merely as slasher movies doesn’t fully capture their essence despite their gory elements. They don’t exactly fit into the meta-slasher category like Scream either, which was frequently referenced by critics when reviewing the first film in the series, Fear Street: 1994. Instead, these films delve deeper into a metaphysical and supernatural mystery that transcends time and centuries. The narrative cleverly uses elements of slasher cinema from two distinct eras—the ’90s and ’70s—to explore broader themes such as scapegoating, privilege, and distorted history. The final film in this trilogy—Fear Street Part Three: 1666—endeavors to convey this larger message but does so less smoothly than its predecessor due to a more challenging setting. Despite some minor inconsistencies cropping up after three movies into the series, it succeeds in maintaining its fast-paced entertainment value while delivering ample gore for horror fans.
—Jim Vorel
30. We Have A Ghost
Year: 2023
Director: Christopher Landon
Stars: David Harbour, Jahi Winston, Anthony Mackie
Few genre filmmakers these days seem to be having as much fun as Christopher Landon. Renowned for creating instant classics like Happy Death Day and Freaky, he has honed the skill of combining horror and comedy with emotional depth over the last six years. This delicate balance has garnered him a loyal fan base and enabled him to delve into diverse horror themes, pushing the limits of his unique style and storytelling abilities. We Have a Ghost serves as a showcase of his storytelling prowess, presenting an expansive ghostly tale infused with wit, scares, and heart in a daring two-hour journey. While Landon largely excels in this endeavor, the film also reveals hints of narrative ambition that may have resulted in certain aspects feeling stretched thin or not fully developed.
—Matthew Jackson
31. Ravenous
Year: 2017
Director: Robin Aubert
Stars: Marc-André Grondin, Monia Chokri, Brigitte Poupart, Luc Proulx, Charlotte St-Martin
Genre enthusiasts may have overlooked Ravenous, apart from its recognition as the Best Canadian Film at the Toronto International Film Festival. This could be due to its classification as an “indie zombie drama” that has been explored in films like The Battery, or possibly because it is presented in French rather than English. Nevertheless, Ravenous is a well-crafted drama thriller that will appeal to zombie aficionados, featuring strong performances by lesser-known actors and a unique perspective on the consequences of zombification. The infected characters here exhibit traits of traditional Romero ghouls while also possessing a deeper complexity: they are portrayed as lost souls clinging to their own peculiar form of culture. These nuances of the zombie epidemic are subtly suggested but not fully explored, adding layers of poignancy and melancholy to Ravenous.
—Jim Vorel
32. Ouija: Origin of Evil
Year: 2016
Director: Mike Flanagan
Stars: Elizabeth Reaser, Lulu Wilson, Annalise Basso, Henry Thomas
While the initial Ouija film lacked originality and felt like a generic money-making venture, its prequel, helmed by established horror enthusiast and prolific filmmaker Mike Flanagan, showcases a nostalgic ’60s horror aesthetic. Paying homage to the era with details like the Universal logo and a vintage color palette, Origin of Evil demonstrates Flanagan’s playful exploration of creative possibilities within the project. Despite catering to genre enthusiasts and film buffs, the success of the movie hinges on how well it captures Flanagan’s vision through its tone and performances. Fortunately, he delivers a satisfying PG-13 horror experience that skillfully blends contemporary genre elements with classic stylistic choices from its roots.
—Oktay Ege Kozak
33. The Pope’s Exorcist
Year: 2023
Director: Julius Avery
Stars: Russell Crowe, Alexandra Essoe, Daniel Zovatto
The Pope’s Exorcist is a captivating choice for fans of weeknight horror cinema, offering a familiar yet engaging supernatural tale with a well-cast lead actor at its core. Drawing inspiration from the works of renowned Catholic priest and exorcist Father Gabriele Amorth, the film presents a unique twist by portraying him as a rebellious figure akin to an action hero from the 1980s. Despite following a somewhat predictable possession narrative set in Spain, the movie fails to fully utilize the talents of Alexandra Essoe, known for her exceptional performances in films like Starry Eyes. Nevertheless, Crowe’s portrayal of Amorth as a confident and charismatic demon-fighter adds depth to the story and injects moments of enjoyable cheesiness into The Pope’s Exorcist.
—Jim Vorel
34. The Babysitter
Year: 2017
Director: McG
Stars: Samara Weaving, Judah Lewis, Hana Mae Lee, Robbie Amell, Bella Thorne Rating: NR
The Babysitter is somewhat naive in its clear desire to be affectionately labeled as an ’80s slasher tribute, yet it manages to garner a significant amount of the approval it seeks. Drawing inspiration from Fright Night and Night of the Demons, the film shines brightest when allowing its highly charismatic teenage characters to take center stage rather than solely focusing on recreating a bygone era. Stylish, gruesome, and unapologetically vulgar, The Babysitter showcases several standout performances such as Judah Lewis portraying a blossoming 12-year-old, Robbie Amell embodying an almost invincible football player, and Samara Weaving as the titular character who initially captures Lewis’s heart before attempting to offer him as a sacrifice to the devil. Clocking in at just 85 minutes and filled with frequent humor, this film stands out as one of Netflix’s top offerings in popcorn horror entertainment.
—Jim Vorel
35. Verónica
Year: 2017
Director: Paco Plaza
Stars: Sandra Escacena
Paco Plaza, the Spanish director known for the influential 2007 found footage horror film R.E.C., has seen diminishing returns with subsequent R.E.C. sequels. Verónica, on the other hand, marks a departure into a new concept for Plaza, although the results are somewhat derivative. The movie revolves around a spirit/demonic possession theme similar to Witchboard, following a 15-year-old Spanish student (Sandra Escacena) who unknowingly invites evil into her home during an ouija seance with her school friends. The film’s visual presentation stands out as a highlight, particularly when showcasing moments in 1991 Spain with well-lit scenes. While the performances of the young actors are engaging, the story feels overly familiar by borrowing elements from Ouija, The Last Exorcism, and other possession films. Verónica may not break new ground but it is competently executed and offers more than just average entertainment value despite not being a groundbreaking revelation from Plaza.
—Jim Vorel
36. 1922
Year: 2017
Director: Zak Hilditch
Stars: Thomas Janes, Neal McDonough, Molly Parker
A transformative performance by Thomas Jane takes center stage in this subtle, gothic tale set in Depression-era Middle America. The story unfolds as a confession from the haunted husband, revealing his involvement in a heinous crime. When his wife (Molly Parker) decides to sell her inherited land instead of working it, Jane’s unrefined field hand persuades their son (Dylan Schmid) to assist in her gruesome murder. Like any Grand Guignol narrative, the true horror lies not in the act itself but in the perpetual dread of its aftermath. The film’s guilty narrator faces a relentless haunting filled with ominous and eerie imagery that captivates viewers. While Stephen King adaptations vary in quality, this straightforward story thrives on its suspenseful plot and strong performances by talented character actors who always deliver on screen.
—Kenneth Lowe
37. Little Evil
Year: 2017 Director: Eli Craig
Stars: Adam Scott, Evangeline Lilly
Seven years after he gave us Tucker & Dale vs. Evil, one of the best horror comedies in recent memory, director Eli Craig has finally returned with an exclusive for Netflix, Little Evil. An obvious parody of The Omen and other “evil kid” movies, Little Evil wears its influences and references on its sleeve in ways that, while not particularly clever, are at least loving. Adam Scott is the sad-sack father who somehow became swept up in a whirlwind romance and marriage, all while being unfazed by the fact that his new step-son is the kind of kid who dresses like a pint-sized Angus Young and trails catastrophes behind him wherever he goes. Evangeline Lilly is the boy’s foxy mother, whose motivations are suspect throughout. Does she know that her child is the spawn of Satan, or as his mother is she just willfully blind to the obvious evil growing under her nose? The film can boast a pretty impressive supporting cast, from Donald Faison and Chris D’elia as fellow step-dads, to Clancy Brown as a fire-and-brimstone preacher, but never does it fully commit toward either its jokes or attempts to frighten. The final 30 minutes are the most interesting, leading the plot in an unexpected direction that redefines the audience’s perception of the demon child, but it still makes for a somewhat uneven execution. Tucker & Dale this is not, but it’s still a serviceable return for Craig. —Jim Vorel
38. Fear Street Part Two: 1978
Year: 2021
Director: Leigh Janiak
Stars: Sadie Sink, Emily Rudd, Ryan Simpkins, McCabe Slye, Ted Sutherland, Ashley Zukerman, Jordana Spiro, Gillian Jacobs, Kiana Madeira, Benjamin Flores Jr.
That’s essentially a summary of Fear Street Part 2: 1978. This second installment of director Leigh Janiak’s ambitious R.L. Stine adaptation trilogy for Netflix starts off strong, continuing the momentum from the intense Fear Street: 1994. While it retains the vivid visuals and graphic deaths from the previous film, it lacks compelling characters and variety in its offerings. Embracing a retro summer camp theme with clear horror influences, 1978 is a lighter diversion that sometimes struggles to maintain its pace but ultimately surprises with its setup for the final chapter Fear Street: 1666. However, there is a sense of middle child syndrome affecting this second chapter.
—Jim Vorel
39. #Alive
Year: 2020
Director: Cho Il-hyung
Stars: Yoo Ah-in, Park Shin-hye
Zombie movie enthusiasts were eagerly awaiting the release of a South Korean zombie film this year, namely Peninsula, which is a sequel to the highly acclaimed Train to Busan. Despite high expectations, it unfortunately did not live up to its predecessor. However, another Korean zombie movie named Alive stepped in and proved to be much more successful despite its modesty. The plot of Alive bears striking similarities with one of the popular segments from the original World War Z novel. It revolves around a young gamer/hacker in Japan who is so engrossed in his online world that he overlooks the onset of a zombie apocalypse until he is eventually forced to disconnect and flee for his life. In Alive, this storyline is adapted and set in South Korea where an introverted main character must descend down his apartment building’s exterior while avoiding zombies and searching for other survivors amidst chaos. This film presents a more concise and well-executed narrative compared to Peninsula’s disappointing extravagance, making it an ideal choice for viewing during pandemic times.
—Jim Vorel
40. Day Shift
Year: 2022
Director: J.J. Perry
Stars: Jamie Foxx, Dave Franco, Karla Souza, Meagan Good, Natasha Liu Bordizzo, Snoop Dogg
Day Shift marks the successful directorial debut of long-time stunt coordinator J.J. Perry. While it may not be groundbreaking, the film is filled with a mix of humor and violence that suggests everyone involved enjoyed the process while maintaining professionalism. Streaming platforms have become akin to modern-day straight-to-video releases, but for certain films like Prey, this distribution strategy may not do justice to their potential. Day Shift doesn’t quite reach franchise-defining heights, but it’s a movie that would have been great to experience in a theater setting. There’s a part of me that imagines it as a grittier, more raw production released on platforms like Shudder, channeling the spirit of 1970s exploitation rather than 1980s action-comedy-horror. If you ever wished for a crossover between Blade and Bad Boys or Lethal Weapon during the early 2000s, Netflix offers an entertaining alternative.
—Kevin Fox Jr.
