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The 70 Best Horror Movies on Netflix (October 2017)

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The 70 Best Horror Movies on Netflix (October 2017)

This is my fifth time compiling this list of the best horror films streaming on Netflix for Paste, and in that time I’ve seen some serious ups and downs from the world’s most prominent streaming service. The first few times I updated the list, I was disappointed to watch great horror films hemorrhage from the service like so much slasher blood, but the last time I returned to it, in the spring of 2017, I was pleasantly surprised. For perhaps the first time, when we updated this list six months ago, Netflix had actually added more quality horror films than they’d lost.

So, where does that leave us in the fall of 2017, as we approach the all-important Halloween season? Well, it’s very much a mixed bag this time around—there have been a lot of subtractions, AND a lot of additions of note. Since the last time we compiled this list, 19 of our top 70 selections have been removed from Netflix, including classics such as The Shining or The Omen, as well as modern favorites such as Sinister or From Dusk Till Dawn. We also lost out on some excellent indie films, including Jim Mickle’s We Are What We Are, or Ana Lily Amirpour’s A Girl Walks Home Alone At Night. Those hurt to lose, but at the same time we gained classics such as Spielberg’s Jaws and horror comedies like Young Frankenstein, along with more indie greats from the last few years such as Train to Busan or A Dark Song. In the end, it feels like things have held fairly even in terms of the overall quality level in Netflix’s horror library, although it continues to be frustrating that the service doesn’t go out of its way to add additional horror content as it approaches the Halloween corridor—the one time of the year when many people are seeking these films out. And how you let The Shining of all things slip off this list in October, I’ll never know.

With that said, there are a few things to keep in mind. For example, Netflix is very lacking in classics and franchise staples. Don’t expect to find any Halloween or Friday the 13th entries here, or a single one of George Romero’s zombie classics—not even Night of the Living Dead, which is free in the public domain for them to exhibit. What they can usually claim, though, is a decent number of more recent, solid indie horror pictures such as The Babadook, Starry Eyes or The Canal. The key is knowing which films to watch, and not getting sucked into watching the direct-to-VOD trash, which proliferates on Netflix like a weed. In the current era of “suggested films” with percentage ratings, it’s harder than ever to tell the wheat from the chaff.

Thus, we invite you to use this list as a guide. The lowest-ranked films are of the “fun-bad” variety—flawed, but easily enjoyable for one reason or another. The highest-ranked films are obviously classics. Check them out, and let me know about any great horror films currently on Netflix that you think deserved a spot on the list.

You may also want to check out the following horror-centric lists:

The 100 best horror films of all time.
The 100 best vampire movies of all time.
The 50 best zombie movies of all time.
The 100 best horror movies streaming on Shudder.


the braniac poster (Custom).jpg 70. The Brainiac (El Baron del Terror)
Year: 1962
Director: Chano Urueta
I honestly wish Netflix had more films in the library akin to The Brainiac, and less of the modern horror trash. Seeing this weird old gem of ’60s Mexican zero-budget horror makes me curious how exactly it ended up on the streaming service—what’s the story behind how this random film, about a sorcerer who returns from the dead as a brain-sucking ape man, was deemed worthy? Did someone from Netflix actually watch it at some point, or was it accidentally uploaded as part of a package deal of some kind? Has anyone (besides me) ever streamed it? Who cares? It’s a film that looks like it could very well have been shot by a young Roger Corman, featuring some guffaw-inducing monster costumes and delightfully incompetent performers. All that it’s missing is a masked luchador hero, but you can’t have everything. — Jim Vorel


sharknado poster (Custom).jpg 69. Sharknado
Year: 2014
Director: Anthony C. Ferrante
B-movie geeks and bad movie fans are not kind to the original Sharknado, and I don’t think that’s entirely fair. It gets flak from that audience for being “purposefully bad,” but it is possible to make an entertainingly goofy film in this way … it’s just pretty rare. Now dragged down by an increasingly forced run of sequels, all of which I’ve reviewed for Paste because I’m a crazy person, it’s easy to lose sight of how slapdash (and thus amusing) the first film was. There’s absolutely no budget behind Sharknado, which makes the gaffes introduced by a tight shooting schedule all the more apparent and hilarious. The sky goes from dark to sunny in between shots in the same scene. The film idles in place for 20 minutes while trying to get kids out of a school bus, just to shamelessly pad itself out to “feature length.” Tara Reid tries to get dialog to come out of her mouth, and fails spectacularly. In short: There’s fun stuff here. Don’t be a bad movie hipster; embrace the original Sharknado. The sequels, feel free to ignore. —Jim Vorel


Zombeavers poster (Custom).jpg 68. Zombeavers
Year: 2015
Director: Jordan Rubin
Look, if you don’t know before you ever hit “play” exactly what you should be expecting from Zombeavers, I’m not sure how much I can help you. It’s a film about toxic waste-spawned zombie beavers, people. It’s halfhearted as both a horror film and a comedy, with a preponderance of jokes that thud and just enough that will draw an ashamed chuckle. It feels like a throwback to the straight-to-VHS horror schlock of the ’80s and ’90s—simple, kitschy premise, plenty of gratuitous nudity, lots of attempts at humor. By the time people start turning into WERE-BEAVERS near the film’s end, you’ll have settled into a good groove of mocking its flaws and enjoying its alternating shamelessness and reverence for the genre—because at least they attempt some interesting practical effects. Good on you, Zombeavers. It’s trash, but a step above the bottom of the barrel. —Jim Vorel


52. abcs of death (Custom).jpg 67. The ABCs of Death
Year: 2012
Directors: Various directors
The ABCs of Death is an anthology film with a great premise: 26 horror shorts about death from up-and-coming directors, one for each letter of the alphabet. Unfortunately, the results are as scattershot as you would expect, and for every good entry there are two uninteresting, confusing or just plain “gross for gross sake” ones. It’s worth seeing, however, for the two or three entries that are really great, which also happen to be from three very promising directors—Nacho Vigalondo’s “A is for Apocalypse,” Marcel Sarmiento’s “D is for Dogfight” and Adam Wingard’s “Q is for Quack.” The “D” entry is probably the star of the show and the one that attracted the most critical praise when it came out, for good reason. It’s a grungy, uncompromising, brutal inversion of a typical story between a man and his dog, and it’s beautiful looking to boot. —Jim Vorel


deep blue sea poster (Custom).jpg 66. Deep Blue Sea
Year: 1999
Director: Renny Harlin
Look, it’s not easy to make a decent “shark movie” even under the best of circumstances. In the decades since Jaws was released in 1975, you could count the legitimately entertaining shark movies released on one hand, so it’s safe to say that Deep Blue Sea had a tough swim ahead of it … particularly given that it came from five-time “worst director” Razzie nominee Renny Harlin. So the fact that it succeeds as a loony popcorn shark thriller is worthy of a little bit of recognition. The effects are a bit dated now, but for 1999 it was actually pretty decent CGI, used to animate this story about super-intelligent sharks created in an underwater research facility. A few of the scenes are appreciably bloody, such as the live-shark brain surgery that ends with one of the researchers short a hand. And then of course there’s the death of Samuel L. Jackson’s character, a legitimately shocking moment that has gone down in history as one of the best movie deaths of the ‘90s. But really, it’s the little things that make Deep Blue Sea more charming than most, from the cheese factor of Thomas Jane’s mop of curly hair, to the surprisingly amusing role played by L.L. Cool J, who memorably dispatches a shark because “you killed my bird!” A character in a thriller, using his final moments to video record the “perfect omelette” recipe for the world? I can get behind that. —Jim Vorel


stake land 2 poster (Custom).jpg 65. Stake Land 2: The Stakelander
Year: 2016
Director: Dan Berk, Robert Olsen
I am a big fan of Jim Mickle’s 2010 film Stake Land, as its consistent high rankings in this list would attest to, but I can’t say that I was holding out much hope for the belated sequel, which arrived six years later with a TV premiere on SyFy and without input from the previous film’s director and co-writer. Still, Stake Land 2 does manage to bring back the two principal leads, one of whom is the previous film’s co-lead, Nick Damici, and a spark of the original does remain. It can’t quite recapture the bleak beauty and surprisingly effective world-building of the original, as a pair of vampire hunters sojourn across the American west in search of shelter, but it does at least have the benefit of being set in a memorable world. As the previously “scruffy young kid” Martin, Connor Paolo has aged nicely, taking on a believable level of grit. Damici, as in the previous film, is the real highlight, having become even more of a grizzled font of wisdom over the years. It’s all a little reductive, but the production quality is still high enough that it would feel out of place in the DVD bargain bin. —Jim Vorel


spawn poster (Custom).jpg 64. Spawn
Year: 1997
Director: Mark A.Z. Dippe
Spawn is the kind of character born of the edgy, “alternative” superhero scene of the ’90s, and it’s hard to overstate how insanely popular he was for that period … but not quite popular enough to be relevant outside of nerdy comics circles. The Spawn film adaptation, then, had the difficulty of being released into a market with not nearly a big enough audience to truly understand or appreciate its aesthetic, and struggled as a result. The irony is that in a post-Deadpool era, Spawn is probably exactly the kind of adult superhero film that would now thrive with an R rating in 2017. Looking back at the ’97 film now, though, it’s easier to find things to admire. Michael Jai White ably plays the first-ever major black superhero on film (seriously), and although John Leguizamo is officially weird as hell in playing Clown/The Violator, it works in its own campy way. Spawn as a franchise is always going to primarily appeal to the teenage boy/Zack Snyder fanboy subset, but with enough humor added to balance the “totally badass dark violence,” I see no reason it couldn’t have a Deadpool-style resurgence sometime in the future. —Jim Vorel


pretty thing inset (Custom).jpg 63. I Am the Pretty Thing That Lives in the House
Year: 2016
Director: Osgood Perkins
This somewhat labored ghost story premiered at the Toronto International Film Fest before being picked up by Netflix for distribution, but the festival circuit is really its natural home. It’s a staid, extremely patient haunted house yarn with some intriguing performances, but it’s likely to be too slow to be appreciated by many modern audiences. A woman moves into a creaky old home to become the live-in nurse for an elderly horror author with dementia, but she soon finds herself being sucked into the ghost story that makes up the author’s most famous book. That likely sounds like a fairly conventional horror movie premise, because it’s the delivery that sets this film apart rather than the summation. Every shot lingers. We glide through the house with minimal, whispered dialog and occasional narration, and although it does build a palpable sense of unease, the payoffs are few and far between. I couldn’t help but be reminded of H.P. Mendoza’s similarly experimental 2012 film I Am A Ghost, which is equally laconic but more visually arresting. I Am the Pretty Thing has grand artistic aspirations of some kind behind it, but has trouble giving them vibrancy. This is a horror film for audiences with solid attention spans. —Jim Vorel


what we become poster (Custom).jpg 62. What We Become
Year: 2015
Director: Bo Mikkelson
The thing that limits a film the likes of What We Become is its familiarity. It’s a tight-knit family drama zombie movie, following a single family unit as they experience the tropes we’ve seen in nearly every “serious” indie zombie film of the last 15 years. Even the title is taken directly from one of the trade paperbacks of The Walking Dead comic, and that comic’s modern, Romero-esque outlook feels like heavy inspiration for the film. It’s not to say that it isn’t effective … but it’s a question of what still remains to be said with a film about a small family trapped inside their home by zombies that hasn’t already been said. What We Become is well shot and handles its minimal story effectively, but it struggles somewhat to justify its own existence. The third act, thankfully, does ratchet up both the tension and action, paying off in some effective bloodletting that takes a bit too long to arrive. It’s a film that is very indicative of the state of modern indie zombie films, both in the U.S. and abroad—competent, fairly entertaining, but struggling for purpose. —Jim Vorel


the fury poster1.jpg 61. The Fury
Year: 1978
Director: Brian De Palma
Two years after Carrie, Hollywood came calling to Brian De Palma, asking “Hey, want to make more or less the same film again?” Brian’s presumptive response: “Sure, let’s do exactly that.” Okay, to be fair it’s not exactly the same as Carrie, but it’s still a horror movie about psychic teens with telekinesis, so we’re more than halfway there. In reality, the premise reminds one almost of say, the Maximoff twins’ depiction in the Marvel Cinematic Universe—two gifted young people who are taken advantage of and imprisoned by governmental forces trying to tap into weaponized uses for their abilities. Kirk Douglas stars as a father trying to find one of those teenagers, who happens to be his psychic son—it’s not every day that you can see a horror movie with Spartacus in it. All in all, it’s sort of a bland film, in a staid, ‘70s way … EXCEPT for the very final scene, which is absolutely magnificent. Finally unleashing her full powers, it features the female protagonist using her mind to cause the antagonist to erupt into a red mist of gore, in one of the most shockingly violent sequences on this entire list. I mean honestly, I’ve seen a lot of people get blown up in movies over the years, but even I’ve never seen anything like the exploding guy in The Fury. It’s easy to see why they simultaneously filmed it from like half a dozen angles—they knew just how good that explosion was going to be. —Jim Vorel


odd thomas poster1.jpg 60. Odd Thomas
Year: 2013
Director: Stephen Sommers
2016 was a year we lost numerous Hollywood icons, but the loss of Anton Yelchin is especially bitter, as he was only 27. The Star Trek star had already put together one hell of an incredible portfolio, and he radiated an innate likability that could well have made him an A-list leading man in Hollywood. With that said, Odd Thomas isn’t exactly his best film—it’s a shame that his underrated Fright Night remake with Colin Farrell isn’t on Netflix right now. But Yelchin is most definitely the best thing in this movie, playing the title character of “Odd,” a young man with abilities to both see and fight restless ghosts and malevolent spirits. The script is jumbled and has a tendency to loop back in on itself repeatedly, but Yelchin is charming, and it’s buoyed by a fun supporting role from Willem Dafoe as the unusually open-minded town sheriff—refreshing, given that this type of character almost never is helpful to the protagonist. It’s not without its problems, but it deserved better at the American box office than the “bomb” status it earned. —Jim Vorel


jaws 2 poster (Custom).jpg 59. Jaws 2
Year: 1978
Director: Jeannot Szwarc
Jaws 2, even more than most sequels, suffers in comparison to the original classic it follows despite being a competent film in its own right. It was a different time in film promotion—even for a blockbuster, a sequel wasn’t a forgone conclusion, and even then you weren’t likely to be working with a comparable budget. Jaws 2 didn’t hurt for funding, but it did miss the presence of Steven Spielberg, whose empathy and pathos for everyman characters can’t quite be replicated, even by the returning cast. Too many aspects of Jaws 2 simply ring hollow—would it really be THAT hard to convince local government and law enforcement that another shark was around, only a couple of years after the events of the first film? Must we really spend our time with the townspeople demonizing poor Brody for trying to bring this shark business to the forefront once again? Still, the grisly shark attack scenes of Jaws 2 (especially the iconic waterskiing bit, or the shark-destroyed helicopter) are much closer to being on par with the original, and they vastly outstrip the shoddy, budget-limited dreck in Jaws 3-D or Jaws: The Revenge. On its own, Jaws 2 is perfectly serviceable … but it’s the last entry in the series you could ever describe as such, and the last worthwhile “shark movie” released for a decade or more. —Jim Vorel


the awakening poster (Custom).jpg 58. The Awakening
Year: 2011
Director: Nick Murphy
A competent but rather paint-by-numbers ghost story from 2011, The Awakening was released in theaters with little fanfare and didn’t get much notice. A period piece set in 1921, it follows a supernatural debunker played by the charming Rebecca Hall as she visits a boys’ boarding school to investigate its resident spooks. It has some DNA of Del Toro’s superior The Devil’s Backbone, as its protagonist seeks answers in the mystery of what is causing the local haunting, but gets a little ridiculous when her secret backstory begins spilling out. It’s nicely shot, but the sepia-toned visuals suck away some vitality from the color palette. It still retains a little bit of that residual Hammer Horror feeling, though—billowing curtains and candles and ornate British mansions always go a long way toward setting the scene. A good watch for those seeking classic ghost story beats rather than gore or more overt violence. —Jim Vorel


last shift poster.jpg 57. Last Shift
Year: 2014
Director: Anthony DiBlasi
Last Shift doesn’t really aspire to much, other than to be cheap and to hit all the notes the director believes it’s supposed to hit. Essentially a one-woman, one-location show, it follows a rookie police officer on her first day on the job, working the overnight shift in an old police station that is about to be shuttered. Unfortunately for her, the various atrocities and bits of violence committed at the location over the years have made this station somewhere between “paranormal hotspot” and “portal to hell dimension.” We’re given some minor exposition about a cult who met a grisly end around the premises, but the majority of the film is simply a procession of well-worn tropes, as our heroine wanders the office, makes terrible choices and observes spooky phenomena. One can at least say that Last Shift looks quite nice for its budget, and there are a handful of effective jump scares sprinkled throughout, but it has a definite air of “bargain bin” about it. —Jim Vorel


curse of chucky poster (Custom).jpg 56. Curse of Chucky
Year: 2013
Director: Don Mancini
Curse of Chucky is one of those rare cases where a direct-to-video horror film exceeds its limited aspirations and makes a case for getting a theatrical release. It’s understandable why Universal didn’t consider it for that role after the diminishing returns of the horror comedies Bride of Chucky and especially Seed of Chucky, but Curse arrived in 2013 as an unexpected return to form more in line with the 1988 original, Child’s Play. Brad Dourif is back as the voice of the killer doll once again of course—it’s not like you could do it without him—and the film also stars his daughter Fiona in the interesting role of a paraplegic protagonist. The film shows us clearly that although Child’s Play will always be a goofy concept, and defined by its dark humor, there needs to be a more serious, visceral side to the production as well for it to really work. Curse brings back that gory physicality that had been missing, and features more of the great puppet work that is the series’ signature. The only downside: Some scenes use a CGI Chucky (presumably to save costs), and the results are absolutely abominable. Here’s hoping Mancini sticks exclusively with the puppet in his next entry in the series, Cult of Chucky.

(Note: The Aforementioned Cult of Chucky is getting a surprise release on Netflix on October 3, 2017, and may find its way onto this list in the future.) —Jim Vorel


when animals dream poster (Custom).jpg 55. When Animals Dream
Year: 2014
Director: Jonas Alexander Arnby
Puberty can be horrifying. With the exception of Ginger Snaps, it’s surprising how rarely the werewolf film is used to showcase the terror of growing up, what with a pubescent finding hair appearing out of nowhere, undergoing unexpected growth, and hungering for something new. The Danish film When Animals Dream attempts to link lycanthropy with the horrors inherent in becoming an adult—but that’s the only surprise its meandering plot can muster. As a werewolf flick, When Animals Dream truly lacks any sort of anxiety or dread, and as simply a puberty metaphor, the film offers no explanation or context regarding how or why this is happening to Marie—almost as if it’s just not interested in explaining, period (sorry). Yet it wants to be both. And that’s that: With a running time of about 80 minutes, Arnby has plenty of time to create a beautifully dark world for us to visit, but doesn’t offer much of a reason to let it grow on us. —Ross Bonaime


nightwatch.jpg 54. Night Watch
Year: 2004
Director: Timur Bekmambetov
A huge hit in its native Russia, Night Watch is a preposterous celluloid Rorschach blot, the backstory and main narratives of which are too feverishly convoluted to summarize. But it works. As an epic about Good and Evil warriors scrapping on the streets of modern Moscow, the film is blissfully free of faux history lessons from the Obi-Wan and Elrond School of Film Exposition. The audience is tossed into a 1,000-year conflict involving witches, curses, vampires, shapeshifters and hypersonic public-utility vehicles and told to sink or swim. Thus, Night Watch feels like Harry Potter’s first week at Hogwarts—crammed with the giddy culture shock of constant discovery. —Michael Marano


daywatch.jpg 53. Day Watch
Year: 2006
Director: Timur Bekmambetov
Day Watch is the sequel to Night Watch, in which we learn that the world is in balance because of a centuries-old truce between the dark-siders and the light-siders who live amongst we clueless mortals.The truce is strained when one of the light guys, Anton, is suspected of murdering a couple of dark side vampires while searching for the mystical “Chalk of Fate.” He’s also looking for his son who has gone to the dark side. And he’s dealing with temporarily inhabiting the body of a woman who used to be an owl. Needless to say, Day Watch can be a tad confusing despite the fact that we are quickly updated on what happened in the first film. But the acting is superb, the dialogue is incredibly sharp and humorous, and the effects are amazing. Even the subtitles are entertaining as the words change color, bounce and crash into pieces. — Tim Basham


would you rather poster (Custom).jpg 52. Would You Rather
Year: 2012
Director: David Guy Levy
Would You Rather is the kind of somewhat reductive horror film that follows in the wake of the Saw and Hostel generation of the 2000s, where characterization is just an excuse to reduce each character to one driving motivation. Here’s our heroine—oh, she needs money to pay for the treatment of her sick brother, but what will she do to get it? Films like this are careful to not present any of the other characters as equally or more sincere in their desire than that protagonist, because that would introduce real moral ambiguity rather than the illusive choices here. Regardless, you’re not watching for the story—you’re watching to see what a bunch of strangers will be forced to do to each other in order to win a demented millionaire’s payday. ’80s horror icon Jeffrey Combs plays that villain, and although he’s clearly having a good time, there’s some spark of vitality to his performances in Re-Animator or From Beyond that has long since been reduced to paycheck-minded professionalism or self-parody of his earlier characters. If this movie had been made in 1985, perhaps it would have been a minor classic. —Jim Vorel


house at the end of time poster (Custom).jpg 51. The House at the End of Time
Year: 2013
Director: Alejandro Hidalgo
I earlier made the mistake of thinking this film was part of the prolific Spanish indie horror market, which has given us the likes of Nacho Vigalondo and Guillermo Del Toro, but The House at the End of Time is actually Venezuelan in origin. It’s ambitious but somewhat messy, a story about a family that undergoes a traumatic, fracturing event and its fallout over the course of 30 years. The eventual revelation of the twist pushes the story into more of a “sci-fi horror” direction, and feels somewhat inspired by the prime-era films of M. Night Shyamalan in execution. The film simply isn’t quite as profound as it would like to think it is, and the visual fidelity holds back its “cinematic” quality slightly, but it gets the most out of a strong central performance from its lead. If you get on a South American horror kick, you’ll end up watching it eventually. —Jim Vorel


48. children of the corn (Custom).jpg 50. Children of the Corn
Year: 1984
Director: Fritz Kiersch
It’s not often that the adults should be the ones afraid to watch a horror movie with kids, but it would be hard not to look at kids differently after 1984’s Children of the Corn, one of the higher-profile entries in horror’s “kids kill all the adults” subgenre. The film focuses on a cult in a fictional Gatlin, Neb., lead by child preacher Isaac, who is convinced by an entity called He Who Walks Behind the Rows that all adults over 18 should get the ax. We see Burt and Vicky (played by Peter Horton and Linda Hamilton) struggle to escape the small town after driving through and hitting a young, dying boy with their car. There’s plenty of slasher scares and creepy visuals, but like any good horror movie, it’s a commentary on us as a society. And like Lord of the Flies before it, this Stephen King-based story looks toward our kids to point out the oddities of our culture, including an obsession with religion. With that said, the performances are cheesy as hell—from both the adults and children. —Tyler Kane


extraordinary tales poster (Custom).jpg 49. Extraordinary Tales
Year: 2013
Director: Raul Garcia
There is so much bargain bin, straight-to-VOD horror trash streaming on Netflix that it’s all too easy for something like Extraordinary Tales to go completely unnoticed, and that’s a shame. This anthology of animated, narrated stories by Edgar Allen Poe may be uneven in terms of quality, but damnit if it’s not far more artistically interesting than another found footage horror turd that was shot in the course of a weekend in Bulgaria. Extraordinary Tales is remarkable for the level of talent the filmmakers were able to bring on as narrators or voice actors: Christopher Lee, Guillermo Del Toro, Julian Sands and Roger Corman, reprising his own interest in Poe that led him to direct films such as House of Usher and The Raven in the ‘60s. There’s even a unique rendition of The Tell-Tale Heart that is narrated via archival recordings by Dracula himself, Bela Lugosi! Each story is likewise presented in a different style of animation, which sadly is of varying quality. But for the sheer novelty of hearing Christopher Lee perform “The Fall of the House of Usher,” or the attractive animation of “The Facts in the Case of M. Valdemar,” Extraordinary Tales is worthy of attention. It would be an excellent film to have playing in the background of a Halloween party. —Jim Vorel


the craft poster (Custom).jpg 48. The Craft
Year: 1996
Director: Andrew Fleming
The Craft is one of those touchstones of ‘90s, teen-friendly horror (see: I Know What You Did Last Summer) that has blossomed into the ranks of “cult films” in recent years, whether or not it really deserves the nostalgia. You can at least admire its deft evolution of John Hughes-era high school movie tropes, presenting an almost Mean Girls clique of girls with the added fun of witchcraft, although the inspiration might be more accurately attributed to the likes of Heathers. This film came along during that brief, odd period of the ‘90s when “starring Fairuza Balk” was not an altogether weird thing to see on a movie poster, and it’s a better, quirkier film for it. We all know where the story is going, once these gals start dabbling in witchcraft for the causes of popularity and petty revenge—nobody gets away with being this bitchy in fiction. It’s hammy, and melodramatic, and protagonist Robin Tunney is easily the least interesting of her own clique, and yet The Craft is still oddly watchable today. It’s a well-preserved time capsule of a very specific moment in the twilight of the MTV Generation. —Jim Vorel


little evil poster (Custom).jpg 47. Little Evil
Year: 2017
Director: Eli Craig
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 another horror comedy 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, as they lead 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


vhs1 poster (Custom).jpg 46. V/H/S
Year: 2012
Directors: Adam Wingard, David Bruckner, Ti West, Glenn McQuaid, Joe Swanberg, Radio Silence
We already mentioned that horror anthologies are, by nature, almost always uneven in terms of quality, but if there’s one constant, it’s usually that fewer stories is better than MANY stories. That’s one of the factors that helps V/H/S work better than say, the unrestrained insanity of The ABCs of Death, along with a more coherent framing narrative. It features segments by some of the best young directors in horror such as Adam Wingard and Ti West, but it’s ultimately David Bruckner, who also directed the genre-bending 2007 horror flick The Signal, who steals the show with his segment, “Amateur Night.” That story, about a group of douchey guys who bring home a strange girl from the bar and get much more than they bargained for when she turns out to be a literal monster, is now getting the full-on feature film treatment under the title of Siren. As for which of the first two V/H/S entries is strongest, though, it’s a bit of a toss-up. Both of them have highlight segments and a few downers. The one thing there’s no doubt about is that both of them are fun, and MUCH better than the abortive 2014 second sequel, V/H/S: Viral. —Jim Vorel


40. vhs 2 (Custom).jpg 45. V/H/S/2
Year: 2013
Directors: Various
As we just said in the last entry, your taste in the V/H/S series will likely depend on which entry has your personal favorite segment, but the first two are relatively neck and neck. At the very least, this one contains what might be the single best segment in the entire series, Eduardo Sanchez’ “A Ride in the Park.” Without giving everything away, it involves bicyclists, zombies and helmet-mounted GoPro cameras, which help give us a perspective we’ve never really seen in horror while deftly avoiding the question of “Why would anyone be filming this?” There’s still some not-great segments—really the ideal V/H/S would be a compilation that takes only the best segments from each entry to create a really solid horror anthology. One has to wonder if Viral killed this series for good, or whether they’ll eventually act like it never happened and release a straight-up V/H/S 3. —Jim Vorel


deathgasm poster (Custom).jpg 44. Deathgasm
Year: 2015
Director: Jason Lei Howden
New Zealand is seeing a revival as a hot-spot for indie horror comedies these days, between this film and others such as What We Do in the Shadows and its upcoming sequel, We’re Wolves, harkening back to the days of Peter Jackson. Deathgasm is a simple film, but a fun one that doesn’t aspire to much. A band of surly heavy metal-worshiping high school students stumbles upon “The Black Hymn,” a piece of medieval-era sheet music that has the power to summon demons and possibly bring about the end of the world. Naturally, they adapt it into a garage rock song, and soon enough, the neighborhood is abuzz with gore-heavy scenes of demonic possession. The humor is crude, and not quite as funny as it thinks it is, but the horror scenes are fun, and Deathgasm never drags. It’s been hailed as a new classic by metalheads, but I still think there’s an even better heavy metal horror film waiting to be made out there. Fun trivia note: Walmart refused to sell copies of the film without changing its title to “Heavy Metal Apocalypse,” so they did. —Jim Vorel


sleepy hollow poster (Custom).jpg 43. Sleepy Hollow
Year: 1999
Director: Tim Burton 
Visually, there’s no denying that Sleepy Hollow is among Tim Burton’s most sumptuous films. A modern retelling of the story of Ichabod Crane makes Johnny Depp’s character an eccentric police inspector rather than a nebbish school teacher, although he does retain plenty of the typical Depp mix of awkwardness, vulnerability and smoldering sensuality. The story almost plays like a Burton film crossed with something by say, Wes Craven if it’s Craven in one of his more populist, money-making moods—a Georgian-era supernatural slasher film with a touch of American giallo as Crane tries to work out not the identity of the killer (the headless horseman) but who is controlling the killer. It all builds to a big finale that feels a little out of place and overwrought, a seeming overture toward making a financially successful film that doesn’t feel entirely necessary. Sleepy Hollow is at its best in its quieter moments, living off the strength of Depp and its creepy art direction, rather than when resorting to fight and chase scenes. But the gothic visuals definitely do carry it quite a ways. —Jim Vorel


monsters poster (Custom).jpg 42. Monsters
Year: 2010
Director: Gareth Edwards
The last few times I put this list together, I left off Monsters only because I couldn’t decide if it truly qualified on any level as “horror” despite being subcategorized as such on Netflix. It is, however, a well-made little film that gave the world its first look at director Gareth Edwards, who parlayed his micro-budget success (budget under $500,000) into a chance to direct blockbusters Godzilla and now Rogue One: A Star Wars Story—an incredible leap forward in prominence in the film community. Monsters, on the other hand, is almost like a sci-fi relationship drama, a film about a journalist tasked with escorting a tourist across a dangerous, quarantined zone of Central America that has become home to alien lifeforms. Edwards skillfully makes the most of on-location shooting and very limited FX to evoke a sense of how the aliens are changing the planet, and of how their arrival changed everything for mankind. Ultimately, though, you’re watching this film for the performances and subtle interplay between its characters rather than any kind of spectacle. Go in looking for a scary movie or action romp, and you’ll be disappointed. You need to take it for what it is: A realistic story about what it might be like for two average people with complicated emotional baggage being thrust into a challenging scenario. Whatever you do, just don’t see the 2014 sequel in name only, Monsters: Dark Continent. —Jim Vorel


europa report poster (Custom).jpg 41. Europa Report
Year: 2013
Director: Sebastian Cordero
This is definitely a stretch, but I wanted to give some recognition to an interesting indie sci-fi film with some definite horror elements. Europa Report is rather stunning in how awesome its production design pulls off a realistic-looking spacecraft traveling to one of Jupiter’s moons. With The Martian fresh in peoples’ minds, consider this film as it tackles similarly science-based issues of the dangers of space travel, along with the question of other forms of life—possibly hostile life—once the destination is reached. Featuring a cast of lesser-known actors, it nevertheless has both Neill Blomkamp favorite Sharlto Copley and Daniel Wu, who has now been exposed to a wider audience as the lead protagonist of AMC’s Into the Badlands. The film’s first half impresses via both characterization and its realistic portrayal of one possible mode of space travel, before the second half unexpectedly ratchets up the suspense and introduces some genuine horror elements. Detractors would say that it’s tonally inconsistent—I say that it’s two different types of effective, and super-impressive on a smaller budget. —Jim Vorel


the devils candy poster (Custom).jpg 40. The Devil’s Candy
Year: 2015
Director: Sean Byrne
What makes The Devil’s Candy work beyond its allegorical ambitions is its refreshing attention to characterization, to the point where you respond to the people on screen as flesh-and-blood human beings rather than just cannon fodder. Much credit for this goes not only to director Sean Byrne’s writing, but to actor Ethan Embry, who imbues Jesse with equal parts sensitivity and a machismo that can occasionally veer into the terrifyingly imposing. Beyond just his fondness for heavy metal and his shoulder-length hair, he’s completely credible as both loving father and obsessive artist. Embry’s scenes with an equally terrific Kiara Glasco, especially, exude a warmth that makes those demon-possessed moments in which he fails his daughter even more heartbreaking. The Devil’s Candy is as much about one father’s paternal anxieties as it is about an artist teetering on the edge of losing his soul. It is, in other words, the kind of horror film that transcends genre and reaches that rare but exalted sweet spot of touching on genuine human fears. —Kenji Fujishima


hellraiser 2 poster (Custom).jpg 39. Hellbound: Hellraiser 2
Year: 1988
Director: Tony Randel
Hellbound is a somewhat divisive sequel among horror fans, but we can all at least agree on one thing: It’s much, much better than any of the approximately 57 additional Hellraiser sequels that followed, most of which will make you wish the Cenobites were gouging your eyes out with their rusty hooks. It’s actually a more ambitious, somewhat less intimate film than the first Hellraiser, greatly expanding upon the mythos of the series as Kirsty must journey to the hellish dimension of the demonic Cenobites to oppose an evil doctor whose dreams of power transform him into a Cenobite himself. The lovely Ashley Laurence returns as the protagonist, along with a young, emotionally disturbed girl who is adept at solving puzzles, which almost gives it the feel of a Nightmare on Elm Street sequel such as Dream Warriors. The Cenobites themselves get a little bit watered down from their nigh omnipotence in the original film, but the settings and effects are great for the meager budget and do as good a job as anyone could reasonably do of translating the twisted vision of Clive Barker to the screen. —Jim Vorel


under the shadow poster (Custom).jpg 38. Under the Shadow
Year: 2016
Director: Babak Anvari
For most of the film, Babak Anvari is crafting a stifling period drama, a horror movie of a different sort that tangibly conveys the claustrophobia of Iran during its tumultuous post-revolution period. Anvari, himself of a family that eventually fled the Ayatollah’s rule, has made Under the Shadow as a statement of rebellion and tribute to his own mother. It’s a distinctly feminist film: Shideh is cast as the tough heroine fighting back against greater hostile forces—a horror movie archetype that takes on even more potency in this setting, while evoking other recent films such as The Babadook in the nature of its troubled mother-child relationship. Seeing Shideh defy the Khomeini regime by watching a Jane Fonda workout video, banned by the state, is almost as stirring as seeing her overcome her personal demons by protecting her child from a more literal one. —Brogan Morris


the-void-movie-poster.jpg 37. The Void
Directors: Steven Kostanski, Jeremy Gillespie
Viewers should grade writer-directors Steven Kostanski and Jeremy Gillespie’s The Void on a curve: While the low-budget Canadian production earns an “A” for ambition, its mélange of The Thing-inspired body horror, ‘80s nostalgia and Lovecraftian cosmic terror doesn’t quite cohere into a satisfying whole by the time its chief antagonist peels away his skin to reveal a bodysuit that looks like Mighty Morphin Power Rangers’ Lord Zedd. The first half of the film demonstrates much more restraint, building tension as triangle-branded cultists isolate a mismatched group of (mostly) innocent people—led by Aaron Poole as an out-of-his-depth small-town cop—in a (mostly) vacant hospital. Kotanski and Gillespie build in too many potentially conflicting twists—who, exactly, is impregnated with what?—but the grotesque practical effects and descent-into-Hell structure at times pass for a solid Silent Hill adaptation. Some of horror’s most recent, popularly memorable features (say: It Follows, The Babadook) have wisely employed relatively narrow scopes. Instead, The Void attempts to push audiences into another dimension, but manages at least a few successful frights along the way. —Steve Foxe


invitation-movie-poster.jpg 36. The Invitation
Year: 2016
Director: Karyn Kusama
The less you know about Karyn Kusama’s The Invitation, the better. This is true of slow-burn cinema of any stripe, but Kusama slow-burns to perfection. The key, it seems, to successful slow-burning in narrative fiction is the narrative rather than the actual slow-burn. In the case of The Invitation, that involves a tale of deep and intimate heartache, the kind that none of us hopes to ever have to endure in our own lives. The film taps into a nightmare vein of real-life dread, of loss so profound and pervasive that it fundamentally changes who you are as a human being. That’s where we begin: with an examination of grief. Where we end is obviously best left unsaid, but The Invitation is remarkable neither for its ending nor for the direction we take to arrive at its ending. Instead, it is remarkable for its foundation, for all of the substantive storytelling infrastructure that Kusama builds the film upon in the first place. —Andy Crump


john dies at the end poster (Custom).jpeg 35. John Dies at the End
Year: 2012
Director: Don Coscarelli
Your ability to withstand the absurdity of John Dies at the End will depend almost entirely on if you’re able to tolerate nonlinear storylines and characters who, woven together, tax the lengths of the imagination. An oftimes crude and farcical combination of horror, drug culture, and philosophical sci-fi, it’s a film you won’t entirely grasp until you’ve seen it for yourself. Central is a drug known as “soy sauce,” which causes the user to see outside the concept of linear time, existing at all times at once, similar to the alien beings from Vonnegut’s Slaughterhouse-Five. Also appearing: phantom limbs, an alien consciousness known as “Shitload,” a heroic dog, Paul Giamatti and an evil, interdimensional supercomputer. No drugs necessary—John Dies at the End will make you feel like you’ve already ransacked your medicine cabinet. —Jim Vorel


the hallow poster (Custom).jpg 34. The Hallow
Year: 2015
Director: Corin Hardy
There are mythological horror stories, and there are scientifically based horror films, and then there’s The Hallow, which splits the difference in a unique and off-putting way by fusing the two. As viewers, we’re tempted to believe that the film is simply going to give us something of a monster movie, spinning off some Irish mythology on nature spirits and whatnot as they enact terrible vengeance upon a family trespassing on their woods, but it’s actually a much ickier and invasive concept. The creatures may be of a “supernatural” bent, yes, but the film ties it all together with a certain amount of science-based physiology, referencing and drawing a metaphor to the so-called “zombie ants” that are taken over and essentially puppeted by a virulent fungus. So it is with The Hallow, which features Game of Thrones’ Roose Bolton (Michael McElhatton) in a supporting role and builds nicely to a conclusion where the viewer isn’t certain quite what the outcome will be. Of special note, I would be remiss to not praise the FX work on this film, which is better than you can possibly expect from your average indie British-Irish horror movie. The whole film feels like something with a substantial, well-spent budget behind it, especially in the FX work, which is really top notch. It’s an impressive debut for director Corin Hardy, that’s for certain. —Jim Vorel


ravenous poster (Custom).jpg 33. Ravenous
Year: 1999
Director: Antonia Bird
Ravenous is an odd duck of a film, and it’s no wonder that the esteem it receives from certain audiences these days is of a decidedly “cult” variety. Caught between genres, it’s a blend of serious-minded historical fiction, cannibal horror and a strong streak of black comedy, although I’d hesitate to truly refer to it as a “horror comedy” outright. The film carries itself with too much gravitas for that moniker, despite the presence of David Arquette. Guy Pearce plays a Dances With Wolves-style soldier protagonist who is haunted by the horrors of war, but there are much worse fates to come. Your true reason for watching Ravenous ought to be the wonderful Robert Carlyle, who is stupendous as a cannibalism survivor with more to him than “meats” the eye (I’m so, so sorry for that one). It all builds to a conclusion that is almost Tarantino in tone, a Resevoir Dogs standoff in which the loyalties of thieves are put to the test and Pearce’s character must decide just how badly he wants to survive. It would probably be a fun movie to watch while preparing a standing rib roast. —Jim Vorel


the-fly.jpg 32. The Fly
Year: 1958
Director: Kurt Neumann
David Cronenberg’s The Fly remake with Jeff Goldblum is great, but it’s so much more visceral than the campy 1958 original. In fact, Kurt Neumann’s The Fly probably isn’t quite the film you might expect it to be—the ’50s sci-fi charm is indeed there, but not without some solid performances and an intriguing structure. In many ways, the film is more of a mystery than the science or horror it purports to be, revolving around the police investigation of why a woman killed her husband with a hydraulic press. Eventually it’s revealed that the only thing left for her to do was to squish him after he developed a bad case of fruit fly-head, but the build to that reveal is both effective and suspenseful. It’s one of the finest and most rewatchable films in the 1950s sci-fi canon more than half a century later—also, Vincent Price is in it, so I rest my case. —Jim Vorel


36. honeymoon (Custom).jpg 31. Honeymoon
Year: 2014
Director: Leigh Janiak
The cool thing about horror is that if you just have the vision, you can make something like Honeymoon with no more resources than an empty cabin and a few weeks of spare time. The film only has four actors, and two of them barely appear, leaving everything on the shoulders of the two young stars, Rose Leslie (Ygritte from Game of Thrones) and Harry Treadway. This is the right decision to make: If you’ve got a few solid, young actors, why not let the film just become a statement of their talents? The story is extremely simple, with a newlywed couple going on their honeymoon in a remote cabin in the woods. When Bea, the wife, wanders away one night and has some kind of disturbing event in the woods, she comes back changed, and it begins to affect both her memory and sense of identity. The next hour or so is a slow-burning but well-acted and suspenseful journey for the two as the husband’s suspicions grow and the warning flags continue to mount. By the end, emotions and gross-out scares are both running high.

(Be careful with this one, because there are two horror films named Honeymoon streaming on Netflix right now. You’re looking for the one with the GoT veteran.) —Jim Vorel


32. the sacrament (Custom).jpg 30. The Sacrament
Year: 2013
Director: Ti West
Unlike his friend and peer in horror filmmaking Adam Wingard, Ti West’s last few features have seemed to reach for a more cerebral scary movie experience. The Innkeepers (not on Netflix streaming) took the “ghost story” and put it in a perspective of very real-seeming, average Joes, and The Sacrament sort of approaches the idea of living within a Jim Jones-style cult in the same way. I’ve described some horror films on the list with words like “fun,” but there’s nothing fun at all in The Sacrament—it’s an ultra-sober, all-too-realistic imagining of a scenario that has played out in the real world on many occasions. The main criticism against it is that it’s very slow and meandering in the path it takes to reveal the darkness within, but for the savvy viewer who’s willing to put in the time for characterization, it only makes the eventual pay-off a bit more effective. The portrayal by actor Gene Jones in particular as the mesmerizing cult leader “Father” is one of the more chilling single performances in a horror movie in recent memory—eye-catching enough that Tarantino decided to cast the guy in The Hateful Eight. I doubt that’s a coincidence. —Jim Vorel


hush poster (Custom).jpg 29. Hush
Year: 2016
Director: Mike Flanagan
Hush is a simple, intimate film at heart, and one that takes more than a few cues from Bryan Bertino’s The Strangers, among other home-invasion thrillers. Director Mike Flanagan, whose Oculus is one of the decade’s better, more underrated horror films, remains a promising voice in horror, although Hush plays things considerably safer than that ambitious haunted mirror tale did. Here, the gimmick is that the sole woman being menaced by a masked intruder outside her woodland home is in fact deaf and mute—i.e., she can’t hear him coming or call for help. At first, the film appears as if it will truly echo The Strangers and keep both the killer’s identity and motivations secretive, but those expectations are subverted surprisingly quickly. It all boils down into more or less exactly the type of cat-and-mouse game you would expect, but the film manages to elevate itself in a couple of ways. First is the performance of actress Kate Siegel as protagonist Maddie, who displays just the right level of both vulnerability and resolve, without making too many of the boneheaded slasher film character choices that encourage you to stand up and yell at the screen. Second is the tangible sense of physicality the film manages in its scenes of violence, which are satisfyingly visceral. Ultimately it’s the villain who may leave a little something to be desired at times, but Hush is at the very least a satisfying way to spend a night in with Netflix. —Jim Vorel


geralds game list poster (Custom).jpg 28. Gerald’s Game
Year: 2017
Director: Mike Flanagan
As he did previously in Oculus, Absentia and the preceding film Hush, director Mike Flanagan seems drawn toward the concept of telling horror stories about strong female characters who fight to achieve their sense of independence by shedding old scars or ghosts, be they literal or figurative. This made him a natural fit for Netflix’s adaptation of Stephen King’s Gerald’s Game, a property with much less cultural cache than the recent phenomenon of It. What he delivers is a slimmed down, thoughtfully condensed version of King’s “fight for survival” story; one that is anchored around two extremely strong lead performances by Carla Gugino and Bruce Greenwood. The faults that still exist in the final product are more to do with King’s unusual ending than anything related to its adaptation, and it could stand to be a little more brisk, but keep an eye out for one of the most unexpectedly gory and horrifying scenes in recent memory. —Jim Vorel


transfiguration-movie-poster.jpg 27. The Transfiguration
Director: Michael O’Shea
Michael O’Shea’s The Transfiguration refreshingly refuses to disguise its influences and reference points, instead putting them all out there in the forefront for its audience’s edification, name-dropping a mouthful of noteworthy vampire films and sticking their very titles right smack dab in the midst of its mise en scène. They can’t be missed: Nosferatu is a big one, and so’s The Lost Boys, but none informs O’Shea’s film as much as Let the Right One In, Tomas Alfredson’s unique 2009 genre masterpiece. Like Let the Right One In, The Transfiguration casts a young’n, Milo (Eric Ruffin), as its protagonist, contrasting the horrible particulars of a vampire’s feeding habits against the surface innocence of his appearance. Unlike Let the Right One In, The Transfiguration may not be a vampire movie at all, but a movie about a lonesome kid with an unhealthy fixation on gothic legends. You may choose to view Milo as O’Shea’s modernized update of the iconic monster or a child brimming with inner evil; the film keeps its ends open, its truths veiled and only makes its sociopolitical allegories plain in its final, haunting images. —Andy Crump


troll-hunter.jpg 26. Troll Hunter
Year: 2010
Director: André Øvredal
There’s no denying that at its beginning, Troll Hunter seems like another Blair Witch Project knock-off. The first 20 minutes show us a young camera crew investigating some unexplained bear deaths and a suspicious man who may be poaching them. But rather than drawing out the mystery, it takes a sharp turn and tells us matter-of-factly that of course it was trolls killing the bears, and not only that, here’s one of them ready to bonk you on the head. The titular Troll Hunter extraordinaire is played by the affable comedian Otto Jespersen, who brings the entire monster premise to an entirely different level through his nonchalant attitude. In every sense, Troll Hunter lives up to its ridiculous name and premise. —Sean Gandert


xx.jpg 25. XX
Year: 2017
Directors: Roxanne Benjamin, Annie Clark, Karyn Kusama, Jovanka Vuckovic, Sofia Carrillo
It’s important that the scariest segment in XX, Magnet Releasing’s women-helmed horror anthology film, is also its most elementary: Young people trek out into the wilderness for fun and recreation, young people incur the wrath of hostile forces, young people get dead, easy as you please. You’ve seen this movie before, whether in the form of a slasher, a creature feature, or an animal attack flick. You’re seeing it again in XX in part because the formula works, and in part because the segment in question, titled “Don’t Fall,” must be elementary to facilitate its sibling chapters, which tend to be anything but. XX stands apart from other horror films because it invites its audience to feel a range of emotions aside from just fright. You might, for example, feel heartache during Jovanka Vuckovic’s “The Box,” or the uncertainty of dread in Karyn Kusama’s “Her Only Living Son,” or nauseous puzzlement with Sofia Carrillo’s macabre, stop-motion wraparound piece, meant to function as a palate cleanser between courses (an effectively unnerving work, thanks to its impressive technical achievements). Most of all, you might have to bite your tongue to keep from laughing uncontrollably during the film’s best short, “The Birthday Party,” written and directed by Annie Clark, better known by some as St. Vincent, in her filmmaking debut. XX is a horror movie spoken with the voices of women, a necessary notice that women are revolutionizing the genre as much as men.
Andy Crump


the nightmare poster (Custom).jpg 24. The Nightmare
Year: 2015
Director: Rodney Ascher
In my own personal estimation, this is one of the most frightening movies on Netflix right now, and one of the most unsettling documentaries I’ve ever seen. Yes, it’s a documentary, from Rodney Asher, director of the similarly horror-themed doc Room 237. The simple structure of this documentary involves in-depth interviews with eight people who all suffer from some form of sleep paralysis as they describe the horrifying visions they encounter on a nightly basis. It’s equal parts tragic and chilling to hear how the condition has made their nighttime hours into a living hell, and legitimately frightening to watch those scenes reenacted. On the other hand, the documentary is frustrating at times for not asking or answering what seem like fairly obvious questions, i.e. does medication aid with these sleep paralysis episodes? Have any of the subjects of the documentary ever been studied in an overnight sleep study? Etc. Personally, this is a fear I’ve always dreaded experiencing, so if you’re anything like me, you’ll agree with the subject who describes the terror as “the kind of horror that is worse than movies.” If you’re going to watch this documentary, you don’t want to do it before falling asleep. —Jim Vorel


housebound poster (Custom).jpg 23. Housebound
Year: 2014
Director: Gerard Johnstone
New Zealand’s Housebound describes itself as a horror-comedy, but this is the unusual case where that label is actually fairly light on “comedy” and leans a touch more on horror. It’s an interesting, well-plotted film that initially seems a little slow: A troubled woman is sentenced to house arrest in her childhood home, which her mother believes is haunted. When unexplained phenomena begin stacking up and the house’s sordid history comes out, though, it kindles an intriguing mystery. The third-act twists in particular send the story hurtling forward into delightfully unexpected territory in ways that are alternatingly emotional, scary, gory, funny and uniformly entertaining. The film does a great job of establishing our heroine as genuinely unlikable at first before slowly and thoroughly transforming her without dropping the core of her surly, acerbic personality. On some level, it’s almost more “horror dramedy” than “horror comedy,” and that’s not a bad thing. – Jim Vorel


baskin poster (Custom).jpg 22. Baskin
Year: 2016
Director: Can Evrenol
It is telling that the single scariest image in Baskin emphasizes creeps over carnage. It’s a shot of a boy standing alone in his living room, illuminated only by the static glow of his family’s television set, which has inexplicably turned itself on in the middle of the night. Nothing about the scenario is overtly terrifying—at least until he shuts the TV off—but it is memorably real in a film where it’s difficult to distinguish what is and isn’t imagined. Grand guignol-level spectacle where every character in the frame is streaked with viscera? That’s one thing. Domestic peculiarities that invoke nocturnal aberrations, though, are another thing entirely. The film evokes the artistic sensibilities of both Lucio Fulci and Dario Argento with its lurid color palette, but it carves a gore-streaked path all its own. – Andy Crump


late phases poster (Custom).jpg 21. Late Phases
Year: 2014
Director: Adrian Garcia Bogliano
Late Phases is a limited but kind of brilliant take on the werewolf movie, featuring a truly outstanding performance by screenwriter-turned-actor Nick Damici (from Stake Land) as an elderly, blind Vietnam veteran who moves to a retiree community currently being menaced by a lycanthrope. After beginning with a bang, it unfolds slowly, developing the strained relationship between the protagonist and his son, the difficulties presented by his blindness and the search for the werewolf’s identity. The characterization of the embittered protagonist is very well developed, and the film shines with lots of the “little things”—great sound design, great dialog, well-cast minor roles. It even features a pretty awesome werewolf transformation scene that, if not quite in American Werewolf in London territory, is one of the best I’ve seen in quite a while. The actual werewolf costumes, it must be noted, look just a little bit ridiculous—like a man in a wolf-bat hybrid suit, and nowhere near as good as say, Dog Soldiers—but the blood effects are top notch. It’s far above most indie horror films in terms of performances, though, and even tugs at the heartstrings a bit with some effective drama. If werewolves are your movie monster of choice, it has to vault up your must-see list. —Jim Vorel


creep poster (Custom).jpg 20. Creep
Year: 2014
Director: Patrick Brice
Creep is a somewhat predictable but cheerfully demented little indie horror film, the directorial debut by Brice, who also released this year’s The Overnight. Starring the ever-prolific Mark Duplass, it’s a character study of two men—naive videographer and not-so-secretly psychotic recluse, the latter of which hires the former to come document his life out in a cabin in the woods. It leans entirely on its performances, which are excellent. Duplass, who can be charming and kooky in something like Safety Not Guaranteed, shines here as the deranged lunatic who forces himself into the protagonist’s life and haunts his every waking moment. The early moments of back-and-forth between the pair crackle with a sort of awkward intensity. Anyone genre-savvy will no doubt see where it’s going, but it’s a well-crafted ride that succeeds on the strength of chemistry between its two principal leads in a way that reminds me of the scenes between Domhnall Gleeson and Oscar Isaac in Ex Machina. —Jim Vorel


they look like people poster (Custom).jpg 19. They Look Like People
Year: 2015
Director: Perry Blackshear
I fully expect there to be someone in the comments—one of the few people who has actually seen this film—arguing that it doesn’t belong on a “horror” list, but it’s in Netflix’s horror section, and that’s our only qualifier. And indeed, They Look Like People is far more genuinely creepy than many other, more traditional horror films on this list that aim to entertain more than legitimately scare. What we have here is a very unusual, unflinching portrait of mental and emotional illnesses that spin wildly out of control. It would be really easy for the story to be more conventional—guy’s friend visits, but it turns out the friend is crazy—but They Look Like People messes with the audience’s expectations for the narrative by giving both of the male leads their own mental hurdles to overcome. They never react quite like we expect them to, because neither sees the world in a healthy way. It’s a film where the threat and implication of terrible violence, evoked via constantly on-edge atmosphere, becomes almost unbearable, whether or not it actually arrives. Thanks to some very, very strong performances, you always feel balanced on the edge of a knife. Deliberately paced but thankfully brisk (only 80 minutes), it leaves much unanswered, but we still feel satisfied anyway. – Jim Vorel


mad rons poster (Custom).jpg 18. Mad Ron’s Prevues From Hell
Year: 1987
Director: Jim Monaco
This is easily the strangest selection I’ve chosen for this list, but I can’t help but love it because it represents everything missing from the horror selection on Netflix streaming. I seriously have no idea how it made its way to the streaming collection, but Mad Ron’s Prevues From Hell is essentially a feature-length collection of vintage, ’70s-era grindhouse horror trailers. They’re presented in a crumbling theater by Nick, a nebbish-looking ventriloquist accompanied by an annoying puppet named Happy. “Mad Ron” is the projectionist, if you were wondering. What follows is the weirdest jumble of silly puppet shtick and super violent, gory trailers you’ve ever seen. Seriously, it’s trailers for the likes of I Drink your Blood and Blood Splattered Bride and I Dismember Mama, followed immediately by bad ventriloquist hijinks and zombie audience members pouring blood on their popcorn. The whole thing feels like something Netflix added completely by accident, and I sit here desperately hoping they don’t realize their mistake. The actual meat of the content is the trailers, and there’s some wonderfully, horribly icky stuff, all reminders of the kinds of films you’ll never see on this streaming service. It would be a great movie to put on during a Halloween party, provided your guests have very strong constitutions. – Jim Vorel


23. the host (Custom).jpg 17. The Host
Year: 2006
Director: Bong Joon-ho
Before he was breaking out internationally with tight action films such as Snowpiercer, this South Korean monster movie was Bong Joon-ho’s big work and calling card. Astoundingly successful at the box office in his home country, it straddles several genre lines between sci-fi, family drama and horror, but there’s plenty of scary stuff with the monster menacing little kids in particular. Props to the designers on one of the more unique movie monsters of the last few decades—the creature in this film looks sort of like a giant tadpole with teeth and legs, which is way more awesome than it sounds. The real heart of the film is a superb performance by Song Kang-ho (also in Snowpiercer) as a seemingly slow-witted father trying to hold his family together during the disaster. That’s a pretty common role to be playing in a horror film, but the performances and family dynamic in general truly are the key factor that help elevate The Host far above most of its ilk. It’s not a coincidence that it became one of the most successful Korean films of all time. – Jim Vorel


the wailing poster (Custom).jpg 16. The Wailing
Year: 2016
Director: Na Hong-jin
The U.S. title of Na Hong-jin’s new film, The Wailing, suggests tone more than it does sound. There is wailing to be heard here, and plenty of it, but in two words Na coyly predicts his audience’s reaction to the movie’s grim tableaus of a county in spiritual strife. Though The Wailing ostensibly falls in the “horror” bin, Na trades in doubt and especially despair more than in what we think of as representing the genre. He isn’t out to terrify us—he’s out to corrode our souls, much in the same way that his protagonist’s faith is corroded after being subject to both divine and infernal tests over the course of the film. You may not leave the film scared, but you will leave it scarred, which is by far a more substantive response than naked fear. – Andy Crump


11. new nightmare (Custom).jpg 15. Wes Craven’s New Nightmare
Year: 1994
Director: Wes Craven
By 1994, 10 years had passed since the original A Nightmare on Elm Street, and Wes Craven had watched a cavalcade of directors run wild with Freddy Krueger in both good (Dream Warriors) and terrible (Final Nightmare) sequels. When he decided to return to the series, the horror visionary therefore came up with a very “proto-Scream” idea—he set the film in the “real world,” casting himself, Robert Englund and the original film’s “final girl,” Heather Langenkamp, as themselves—movie industry people making yet another Freddy sequel. Except this time, the malevolent spirit of Freddy—or perhaps the idea of Freddy, starts jumping out into the real world. It’s a concept that perfectly encapsulates the idea of memetics and how it’s applied today on the Internet in particular. The actual horror scenes can’t quite match up to the best stuff in parts 1 and 3, but unfortunately those films aren’t on Netflix. What New Nightmare does do really well is rein in the cartoonishness that the series had drifted into in order to make Freddy more clever (and frightening) once again. By approaching it from a new angle, Craven was able to reclaim some of Nightmare’s tarnished dignity. – Jim Vorel


the canal poster (Custom).jpg 14. The Canal
Year: 2014
Director: Ivan Kavanagh
This indie Irish horror film announces Ivan Kavanagh as a serious talent and remarkably skilled director—I watched it for the first time recently and it blew all my expectations away. Nominally a “ghost story” of sorts about a man who discovers a century old grisly crime that occurred in his house, it is actually much more of a psychologically intense minefield—the sort of film that Polanski would have made, if he was shooting a ghost story. Combining elements that remind one of The Shining’s superb sound design with the the red-and-blue color palette of a film by Dario Argento, it is impeccably put together and beautiful to look at. The story, unfortunately, gets just a little bit too literal and wraps things up a bit neatly in the last 15 minutes, but the movie crafts an extremely effective web of dread and genuine fear through its entire runtime. Here’s hoping that we see another horror film from Kavanagh very soon. – Jim Vorel


we are still here poster (Custom).jpg 13. We Are Still Here
Year: 2015
Director: Ted Geoghegan
We Are Still Here never wants for scares. It might actually be the single most terrifying movie of 2015, even next to David Robert Mitchell’s acclaimed and unsettling It Follows. But Geoghegan handles the transition smoothly, from the story of running away from tragedy We Are Still Here begins as to the bloodbath it becomes. There’s no sense of baiting or switching; the director flirts with danger confidently throughout. Plus, there’s that New England winter to add an extra layer of despair. The elements forebode and forbid in equal measure. The weather outside is frightful…and the carbonized wraiths in the basement even more so. In the end, this is one haunted house that won’t be denied. – A.C.


train-to-busan.jpg 12. Train to Busan
Year: 2016
Director: Yeon Sang-ho
Love them or hate them, zombies are still a constant of the horror genre in 2016, dependable enough to set your conductor’s watch by. And although I’ve probably seen enough indie zombie films at this point to eschew them from my viewing habits for the rest of my life, there is still usually at least one great zombie movie every other year. In 2016, that was Train to Busan, a film that I sadly hadn’t yet seen when I wrote the 50 Best Zombie Movies of All Time. There’s no need for speculation: Train to Busan would undoubtedly have made the list. This South Korean story of a career-minded father attempting to protect his young daughter on a train full of rampaging zombies is equal parts suspenseful popcorn entertainment and genuinely affecting family drama. It concludes with several action elements that I’ve never seen before, or even considered for a zombie film, and any time you can add something truly novel to the genre of the walking dead, then you’re definitely doing something right. With a few memorable, empathetic supporting characters and some top-notch makeup FX, you’ve got one of the best zombie movies of the past half-decade. – Jim Vorel


15. tucker and dale (Custom).jpg 11. Tucker & Dale vs. Evil
Year: 2010
Director: Eli Craig
Let’s face it, hillbillies and their ilk have been getting the short end of the pitchfork in movies since the strains of banjo music faded in 1972’s Deliverance. And whether due to radiation (The Hills Have Eyes) or just good old determined inbreeding (Wrong Turn and so, so many films you’re better off not knowing about), the yokel-prone in film have really enjoyed slaughtering innocent families on vacation, travelers deficient in basic map usage skills, and, best of all, sexually active college students just looking for a good time. But fear not, members of Hillbillies for Inclusion, Consideration & Kindness in Screenplays (HICKS)—writer/director Eli Craig has your hairy, unloofahed back. His film, Tucker & Dale vs. Evil, answers the simple question: What if those hillbillies are just socially awkward fellows sprucing up a vacation home and the young college kids in question are just prone to repeatedly jumping to incorrect, often fatal, conclusions? Think Final Destination meets the Darwin Awards in a film that is extremely funny and big-hearted but also doesn’t skimp on the violence. —Michael Burgin


12. hellraiser (Custom).jpg 10. Hellraiser
Year: 1987
Director: Clive Barker
The head villain/eventual hero (there’s a sickening number of terrible Hellraiser sequels) behind Clive Barker’s Hellraiser franchise is the Cenobite Pinhead, sent from the pits of his own personal hell dimension to drag you down into the depths with him. Where he tortures you. For eternity. All because you opened a fancy Rubik’s Cube. Pinhead has zero remorse, looking you dead in the eye as he delivers a deadpan promise to “tear your soul apart.” Oh yeah, and they’re indestructible. Personally, it turned me off to puzzle boxes forever. As in his fiction, Barker’s obsessions with the duality of pain and pleasure are on full display in the film version of Hellraiser, an icky story of sick love and obsession. —Rachel Haas


8. Stake land (Custom).jpg 9. Stake Land
Year: 2010
Director: Jim Mickle
Jim Mickle is the best young horror director to get left out of most discussions on the best young horror directors, and I’m not sure why that is. From his debut work Mulberry Street (not on Netflix streaming), he’s been one of the leading auteurs of low-budget horror that still strives for ambitious ideas, and Stake Land is all about ambition rather than exploitation. Lord knows how many cheapo zombie movies have been made in the last decade, but Mickle throws a first wrench into convention by changing up the monster, essentially making a post-apocalypse zombie film, except with vampires. But Stake Land’s greatest achievement is inarguably its wonderful design and evocative landscapes—I’ve never seen a low-budget “post-apocalypse” film that can stand up to more expensive productions the way this one can. It’s a genius work of minimalism, to be able to suggest such a fleshed-out universe, where small pockets of humanity survive in barricaded cities and barter for goods with the teeth of dead vampires. Our characters and story are extremely simple—a veteran hunter and young protege traveling across the wasteland looking for safe refuge—but it’s exactly what the film needs to be. It’s a realistic, sober-minded film that looks great, boasts solid performances and accomplishes so much with so little. – Jim Vorel


a-dark-song-movie-poster.jpg 8. A Dark Song
Year: 2016
Director: Liam Gavin
In Liam Gavin’s black magic genre oddity, Sophia (Catherine Walker), a grief-stricken mother, and the schlubby, no-nonsense occultist (Steve Oram) she hires devote themselves to a long, meticulous, painstaking ritual in order to (they hope) communicate with her dead son. Gavin lays out the ritual specifically and physically—over the course of months of isolation, Sophia undergoes tests of endurance and humiliation, never quite sure if she’s participating in an elaborate hoax or if she can take her spiritual guide seriously when he promises her he’s succeeded in the past. Paced to near perfection, A Dark Song is ostensibly a horror film but operates as a dread-laden procedural, mounting tension while translating the process of bereavement as patient, excruciating manual labor. In the end, something definitely happens, but its implications are so steeped in the blurry lines between Christianity and the occult that I still wonder what kind of alternate realms of existence Gavin is getting at. But A Dark Song thrives in that uncertainty, feeding off of monotony. Sophia may hear phantasmagorical noise coming from beneath the floorboards, but then substantial spans of time pass without anything else happening, and we begin to question, as she does, whether it was something she did wrong (maybe, when tasked with not moving from inside a small chalk circle for days at a time, she screwed up that portion of the ritual by allowing her urine to dribble outside of the boundary) or whether her grief has blinded her to an expensive con. Regardless, that “not knowing” is the scary stuff of everyday life, and by portraying Sophia’s profound emotional journey as a humdrum trial of physical mettle, Gavin reveals just how much pointless, even terrifying work it can be anymore to not only live the most ordinary of days, but to make it to the next. – Dom Sinacola


raw-movie-poster.jpg 7. Raw
Year: 2016
Director: Julia Ducournou
If you’re the proud owner of a twisted sense of humor, you might tell your friends that Julia Ducournau’s Raw is a “coming of age movie” in a bid to trick them into seeing it. Yes, the film’s protagonist, naive incoming college student Justine (Garance Marillier), comes of age over the course of its running time; she parties, she breaks out of her shell, and she learns about who she really is as a person on the verge of adulthood. But most kids who come of age in the movies don’t realize that they’ve spent their lives unwittingly suppressing an innate, nigh-insatiable need to consume raw meat. “Hey,” you’re thinking, “that’s the name of the movie!” You’re right! It is! Allow Ducournau her cheekiness. More than a wink and nod to the picture’s visceral particulars, Raw is an open concession to the harrowing quality of Justine’s grim blossoming. Nasty as the film gets, and it does indeed get nasty, the harshest sensations Ducournau articulates here tend to be the ones we can’t detect by merely looking: Fear of feminine sexuality, family legacies, popularity politics, and uncertainty of self govern Raw’s horrors as much as exposed and bloody flesh. It’s a gorefest that offers no apologies and plenty more to chew on than its effects. (Raw arrives on Netflix on Oct. 4, 2017.) —Andy Crump


starry eyes poster (Custom).jpg 6. Starry Eyes
Year: 2014
Director: Kevin Kölsch
Starry Eyes might be the most difficult film on this entire list to watch. Not necessarily because it will frighten you, although it will. But this is a harrowing film experience. It’s an ordeal, in the same way the protagonist’s journey is an ordeal and a transformation. At the beginning, you think you have a pretty decent idea of the surface-level points it’s trying to make, “Hollywood against Hollywood” bitterness and cynicism about fame and the film industry’s pettiness. But it’s so much more destructive and subversive than that. Our protagonist, Sarah, is a tragic figure, and this is a “horror tragedy,” if such a thing exists, made worse by the fact that she brings it all onto herself, fueled by deep-seated inadequacy and a crushing lack of self-identity. Her ambition turns her into a monster because she has nothing else. Her life is so devoid of meaning that doing the unthinkable has no downside. It’s a horrific self-destruction that leads into a orgy of truly grotesque violence, but there’s no joy or titillation in any of the ways it’s depicted. No one is going to describe Starry Eyes as “fun” or light viewing, and no one is going to laugh at the deaths. You don’t show this thing at a party—you dwell on it in the depth of night while self-identifying with its horrors. Its themes of abandonment of the self make it one of the most disturbing and well-crafted horrors I’ve seen in quite a while. – Jim Vorel


18-best-so-far-2015-It-Follows.jpg 5. It Follows
Year: 2015
Director: David Robert Mitchell
The specter of Old Detroit haunts It Follows. In a dilapidating ice cream stand on 12 Mile, in the ’60s-style ranch homes of Ferndale or Berkley, in a game of Parcheesi played by pale teenagers with nasally, nothing accents—if you’ve never been, you’d never recognize the stale, gray nostalgia creeping into every corner of David Robert Mitchell’s terrifying film, but it’s there, and it feels like Metro Detroit. It Follows is a film that thrives in the borders, not so much about the horror that leaps out in front of you, but the deeper anxiety that waits at the verge of consciousness—until, one day soon, it’s there, reminding you that your time is limited, and that you will never be safe. Forget the risks of teenage sex, It Follows is a penetrating metaphor for growing up. —Dom Sinacola


6. the babadook (Custom).jpg 4. The Babadook
Year: 2014
Director: Jennifer Kent
Between It Follows and The Babadook, the last year or so has been a strong one for indie horror films breaking free from their trappings to enter the public consciousness. Between the two, The Babadook is perhaps less purely entertaining but makes up for that with cerebral scares and complex emotion. It’s an astoundingly well-realized first feature film for director Jennifer Kent, and one that actually manages to deal with a type of relationship we haven’t seen that often in a horror film. Motherhood in cinema tends to invariably be portrayed in a sort of “unconditional love,” way, which isn’t necessarily true to life, and The Babadook preys upon any shred of doubt there might be. Its child actor, Noah Wiseman, is key in pushing the buttons of actress Essie Davis, pushing her closer and closer to the brink, even as they’re threatened by a supernatural horror. The film’s beautiful art direction approximates a crooked, twisted fairytale, with dreamlike sequences that never quite reveal what is true and what might be a hallucination. The characters of The Babadook ultimately undergo quite a lot of suffering, and not just because they’re being chased by a monster. – Jim Vorel


young-frankenstein.jpg 3. Young Frankenstein
Year: 1974
Director: Mel Brooks
One of the best comedies of all time and one of the 10 or so films I can quote almost entirely from memory, Young Frankenstein is a classic of the genre. At once a spoof of traditional Universal horror films and a loving tribute, with a surprising number of deep references to Bride of Frankenstein and Son of Frankenstein in particular, Mel Brooks and his immensely talented cast have created a timeless film. It follows Dr. Frederick Frankenstein (played by Gene Wilder) as he finally gives into continuing his grandfather’s (the Frankenstein) experiments. A classic for all ages, Peter Boyle’s take on Frankenstein’s monster is more playful than scary—after all, it’s hard to see a kid being terrified by a tap-dancing monster, even if he is “puttin’ on the ritz.” – Mark Rabinowitz


american werewolf poster (Custom).jpg 2. An American Werewolf in London
Year: 1981
Director: John Landis
Few directors have ever displayed such an innate tact for combining dark humor and horror the way John Landis does. At the height of his powers in the early ’80s, one year removed from The Blues Brothers, Landis opted for a much dirtier, grittier, scarier story that stands as what is still the best werewolf movie of all time. When two travelers backpacking across the English moors are attacked by a werewolf, one is killed and the other infected with the wolf’s curse. Haunted by the simultaneously unnerving and hilarious visions of his dead friend, he must decide how to come to terms with the monster he has become, even as he strikes up a relationship with a beautiful nurse played by Jenny Agutter. The film lulls you into comfort with its witticism before springing shocking, gory dream sequences on the viewer, which repeatedly arrive unannounced. The key moment is the protagonist’s incredibly painful, traumatic full transformation, set to the crooning of Sam Cooke doing “Blue Moon,” which is still unsurpassed in the history of the genre. Legendary FX and monster makeup artist Rick Baker took home the first-ever Academy Award for For Best Makeup and Hairstyling for creating a scene that has given the wolf-averse nightmares ever since. – Jim Vorel


jaws poster (Custom).jpeg 1. Jaws
Year: 1975
Director: Steven Spielberg 
Once again, allow me to remind you that our criteria for which films appear on this list is which genres Netflix chooses to sort these movies into. With that said: Is Jaws a horror film? For those who worry that it’s “not safe to go back in the water,” then most certainly it is. But regardless of how you’d classify it, there’s no denying that Jaws is anything but brilliant, one of Spielberg’s great populist triumphs, alongside the likes of Jurassic Park and E.T., but leaner and less polished-looking than either, which actually works in its favor. Much has been made over the years of how Jaws as a film really benefits from the technical issues that plagued its making—the story originally called for more scenes featuring the mechanical shark “Bruce,” but the constantly malfunctioning animatronic forced the director to cut back, which ended up maximizing each appearance’s impact. The first time that Roy Scheider sees the literal “jaws” of the beast while absentmindedly throwing chum into the water is one of the great, scream-inducing moments in cinema history, and it’s a shock that has literally never been matched in any other shark movie since … likewise with the death of Quint, whose mad scramble to avoid those gnashing teeth is the kind of thing that created its very own sub-genre of children’s nightmares. Ultimately, Jaws is made into a great film via memorable characters, but it’s made into a scary film by novelty and perfect execution. – Jim Vorel


Jim Vorel is a Staff Writer, and his DVD plan from Netflix remains firmly intact. You can follow him on Twitter. for more film content.

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