The 60 Best Horror Movies on Netflix (Spring 2018)

Movies Lists Netflix
Share Tweet Submit Pin
The 60 Best Horror Movies on Netflix (Spring 2018)

There was once a time when Netflix hemorrhaged classic horror movies like so much slasher blood, but since the fall of 2017, Netflix has lost scores of horror greats, and done a poor job of compensating. Of the 70 we previously listed, 22 have gone missing, including some of the best horror movies of all time, like Jaws, An American Werewolf in London and Young Frankenstein, as well as notable indie films, such as We Are Still Here, The Sacrament and Honeymoon, replaced with straight-to-VOD horror junkers with similar titles. (There’s literally another film called Honeymoon on Netflix, but for the love of god, please don’t watch it.) In fact, Netflix has added so little of interest to the service in the last six months (in terms of horror films) that I’ve been forced to trim this list from 70 to 60 movies. Everything you need to know about the average quality of Netflix’s horror selection can be summed up by simply looking at the poster for Shelley, which gleefully rips off Rosemary’s Baby, content in its belief that you’re too stupid to notice.

rosemary shelley comparison inset (Custom).jpg The sincerest form of flattery, etc.

As always, there are a few things to keep in mind when browsing this library. Netflix is very much lacking in iconic horror movies 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 small-budget horror pictures (The Babadook, Starry Eyes, The Canal). The key is knowing which films to watch, and not getting sucked into watching the trash, which proliferates on Netflix like weeds. In the streaming service’s current era of “suggested films” accompanied by 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 us know about any great horror films currently on Netflix that you think deserved a spot on the list.

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

The 100 Best Horror Movies 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 50 Best Movies About Serial Killers


sharknado poster (Custom).jpg 60. 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 59. 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 58. 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


stake land 2 poster (Custom).jpg 57. 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


pretty thing inset (Custom).jpg 56. 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 55. 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


before i wake poster (Custom).jpg 54. Before I Wake
Year: 2016
Director: Mike Flanagan
Director Mike Flanagan seems to have become Netflix’s go-to guy when it comes to directing Netflix Original horror movies ‘ala Hush and Gerald’s Game, and they returned the favor to the director by acquiring and releasing the somewhat less inspired Before I Wake in 2016. This film, originally titled Somnia, was passed to several potential distributors and even had in-theater advertising at one point, but its plans for a theatrical release were ultimately scrapped. The story of a young boy (Jacob Tremblay of Room and Wonder) with the unconscious power to manifest his dreams in reality, it draws obvious parallels to Nightmare on Elm Street but especially to the astral plane-tripping excursions of the Insidious series, without quite having the verve of either. Still, it could be an interesting genre footnote in the career of Tremblay if this kid grows up to be an Oscar-winner someday.
—Jim Vorel


odd thomas poster1.jpg 53. 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


the awakening poster (Custom).jpg 52. 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 51. 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


scream 3 poster (Custom).jpg 50. Scream 3
Year: 2000
Director: Wes Craven
Scream 3 is the redheaded stepchild of Wes Craven’s iconic meta-slasher series, a film that clearly can’t stand up to the originality of either Scream or Scream 2, but is generally regarded to still contain some small spark of the divine. It at least aims to close the series (until it was reanimated in 2011’s Scream 4) with a deeper bit of context into what kicked off the events of the first film, but it does so in a way that lacks the subtlety of either previous installment—seemingly ever reviewer felt it necessary to point out that “Scream has become the thing it was originally parodying.” Neve Campbell is resourceful as ever as ultimate final girl Sidney Prescott, but it’s the supporting cast that has now worn thin—even with a visit (via video) from dead horror geek Randy Meeks, who informs the cast of the tenants surrounding a horror trilogy. Still, for the horror completionist, its ending provides a worthwhile sense of closure for Sidney. The fourth film, unsurprisingly, remains unnecessary as a result. -Jim Vorel


tales of halloween poster (Custom).jpg 49. Tales of Halloween
Year: 2015
Director: Various
Every viewer will have his or her favorite story in anthology horror comedy Tales of Halloween. Half the fun of films like this lies in arguing with friends over which narrative is best, after all, and while there are clear standouts among the pack, the real pleasure of Tales of Halloween is the ride rather than the destination: For as long as you’re held in the movie’s thrall, you’ll be celebrating Halloween. There’s something here for everybody, whether you prefer your horror goofy or gory, but no matter your tastes, it’s the film’s love of Halloween—not to mention its general dedication to practical effects over CGI—that makes it worth attending. —Andy Crump


curse of chucky poster (Custom).jpg 48. 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. ——Jim Vorel


when animals dream poster (Custom).jpg 47. 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


would you rather poster (Custom).jpg 46. 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


48. children of the corn (Custom).jpg 45. 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 44. 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


little evil poster (Custom).jpg 43. 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


40. vhs 2 (Custom).jpg 42. V/H/S/2
Year: 2013
Directors: Various
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


cult of chucky poster (Custom).jpg 41. Cult of Chucky
Year: 2017
Director: Don Mancini
The Child’s Play series has managed the supremely rare accomplishment of actually improving itself in its direct-to-video days, clawing its way up from the abyss that was the Seed of Chucky days with its last two installments, Curse and Cult of Chucky. This latest, the seventh in the series, is possibly the best since Child’s Play 2, weaving together a complex web of characters from the history of the series. The voodoo mumbo-jumbo at the heart of the plot has gotten more fiendishly complicated than ever, resulting in not one but a small army of Chucky dolls, each containing the soul of Brad Dourif’s iconic serial killer, Charles Lee Ray. Stark and futuristic-feeling, the film is set in a brilliantly white-toned mental health institution, where recovering heroine Nica (Dourif’s daughter, Fiona Dourif) must grapple with the legacy of Chucky, while also bringing original hero Andy Barclay back into the fold. This Chucky is certainly a return to the original film in many respects; especially in its depraved attitude and copious amounts of gore. And unlike Curse of Chucky, most of the FX are rendered practically, to boot. Ultimately, Cult is a far better entry than you could ever hope for in the seventh film of a horror franchise, and it should be commended for that. Don Mancini never says “die” with this series, it would seem. —Jim Vorel


deathgasm poster (Custom).jpg 40. 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


veronica horror poster (Custom).jpg 39. Verónica
Year: 2017
Director: Paco Plaza
Paco Plaza, the Spanish director of landmark 2007 found footage horror film R.E.C., has largely delivered diminishing returns via R.E.C. sequels in the years that followed. Verónica, therefore, has been received as a welcome venture into a new concept for the director, even if the results are decidedly on the derivative side. A spirit/demonic possession movie in the vein of Witchboard, the film follows a 15-year-old Spanish student who unwittingly invites evil into her home while conducting an ouija seance with her school chums. Where it shines is largely on the presentation side—the film looks great whenever its images aren’t too dark, capturing an interesting moment in history by setting the film in 1991 Spain. Charismatic performances from multiple child actors serve to bolster a story that unfortunately feels frustratingly familiar, recycling elements of Ouija, The Last Exorcism and practically every possession film ever written. This is very well-trodden ground, but Verónica is at the very least more than competent, even if it’s not the revelation that certain Twitter users have been making it out to be. —Jim Vorel


europa report poster (Custom).jpg 38. 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


teeth poster (Custom).jpg 37. Teeth
Year: 2007
Director: Mitchell Lichtenstein
You’ll find Teeth lodged in a crevasse somewhere between black comedy and horror film; it is a unique, disturbing flick with a premise likely to decide your reaction to it before you’ve ever actually seen the movie, which is too bad. To put it bluntly, it’s about a young, abstinent girl whose first sexual experiences reveal a rare, deadly, (fictional) condition known as “vagina dentata,” aka teeth where teeth really should not be. You could try playing that kind of story completely seriously, and it would probably be truly horrifying, but Teeth instead is presented almost like a teenage sex comedy gone horribly wrong. There’s beats that almost remind one of say, American Pie, except for all of the severed sex organs. It’s often wickedly funny, though, centered around a great performance by Jess Weixler as the protagonist. It’s like Sixteen Candles, if Molly Ringwald had spent the entire movie leaving a trail of maimed boys in her wake. —Jim Vorel


the devils candy poster (Custom).jpg 36. 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


the ritual poster (Custom).jpg 35. The Ritual
Year: 2017
Director: David Bruckner
Where The Ritual excels is technically, in both its imagery and sound design. Cinematographer Andrew Shulkind’s crisp images and deep focus are a welcome respite from the overly dark, muddy look of so many modern horror films with similar settings (such as Bryan Bertino’s The Monster), and the forested location shots, regardless of where they may have been filmed, are uniformly stunning. Numerous shots of tree clusters evoke Celtic knot-like imagery, these dense puzzles of foliage clearly hiding dire secrets, and we are shown just enough through the film’s first two thirds to keep the mystery palpable and engaging. Bruckner, who is best known for directing well-regarded segments of horror anthologies such as V/H/S, The Signal and Southbound, demonstrates a talent here for suggestion and subtlety, aided by some excellent sound design that emphasizes every rustling leaf and creaking tree branch. Unfortunately, the characters are a bit thin for what is meant to be a character-driven film, and the big payoff can’t quite maintain the atmosphere of the film’s first two acts. Still, The Ritual is a great-looking film, and one that features one of the more memorably “WTF!” monster designs in recent memory. It’s worth a look for that alone. —Jim Vorel


hellraiser 2 poster (Custom).jpg 34. 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-shadow-movie-poster.jpg 33. 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 statement of rebellion and tribute to his own mother. It’s a distinctly feminist film: Shideh (Narges Rashidi) 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. 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 32. 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


30 days of night poster (Custom).jpg 31. 30 Days of Night
Year: 2007
Director: David Slade
With sparkly, emo vampires being all the rage amongst tweens and slash/fic enthusiasts at the time, the big screen adaptation of Steve Niles and Ben Templesmith’s comic book miniseries, 30 Days of Night, could easily be seen as something of a balm for true horror fans. There are no tragic or misunderstood monsters as far as the guyliner’d eye can see; the vampires here—led by Danny Huston’s vicious Marlow—are savage, pitiless, bloodsucking ghouls. Despite the unfortunate blank space in the center of the film where town sheriff Josh Harnett’s command of the screen should be, the movie faithfully captures the source material’s terror of a small Alaskan town falling prey to ravenous creatures, and dawn is an entire, excruciating month away. Rarely does a horror setting seem quite so hopeless as it does here. —Scott Wold


invitation-movie-poster.jpg 30. 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

Recently in Movies
More from Netflix