The 60 Best Horror Movies on Netflix (October 2018)

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The 60 Best Horror Movies on Netflix (October 2018)

2018 has been a rough year for the breadth of the Netflix film library. As competing services, and especially genre-specific ones such as Shudder, continue to expand their horror movie collections, it’s harder and harder for Netflix to project any sense of a comprehensive horror catalog. When this year began, for instance, Netflix could boast classics An American Werewolf in London, Jaws or Young Frankenstein, along with recent indie greats like Starry Eyes, The Descent or Baskin. All of those films are now gone—typically replaced by low-budget, direct-to-VOD films with suspiciously similar one-word titles, like Demonic, Desolation and Satanic.

Still, there are quality films to be found here, typically of the modern variety, from The Babadook or It Follows to more obscure (and disturbing) titles such as A Dark Song or Raw. Don’t expect to find many classics or franchise staples in the mold of Halloween or Friday the 13th, but you can at least enjoy Tucker and Dale vs. Evil one more time. And as Halloween 2018 approaches, this is the time to know which horror films on Netflix are actually quality. And also to be aware that The Shining is finally returning to Netflix on Oct. 1!

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 essentials.

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 30 best horror movies on Hulu
The 60 best horror movies on Amazon Prime
The 50 best movies about serial killers
The 50 best slasher movies of all time


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


stake land 2 poster (Custom).jpg 59. 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 58. 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. A staid, extremely patient haunted house yarn with some intriguing performances, it’s likely to be too slow to be appreciated by bingers on the streaming service. A woman (Ruth Wilson) moves into a creaky old home to serve as live-in nurse for an elderly horror author with dementia (Paula Prentiss), but soon finds herself sucked into the ghost story that makes up the author’s most famous book. Which sounds like a fairly conventional horror movie premise, but 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


before i wake poster (Custom).jpg 57. 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 Original horror movies—see: Hush and Gerald’s Game—and Netflix returned the favor by acquiring and then releasing the somewhat less inspired Before I Wake in 2016. Originally titled Somnia, the film 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


deep blue sea poster (Custom).jpg 56. 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


life after beth poster (Custom).jpg 55. Life After Beth
Year: 2014
Director: Jeff Baena
Life After Beth is a story of life and love lost and found, starring Aubrey Plaza and Dane DeHaan in a more cellular interpretation of star-crossed lovers. DeHaan plays Zach Orfman, a young man beside himself with grief after the death of his, girlfriend Beth Slocum (Plaza), and for whom her parents (Molly Shannon and John C. Reilly) are his only sources of comfort. Not long after her funeral, he starts to notice some unusual occurrences around town—strange things are afoot at the Circle-K—and Zach discovers that Beth has risen from the grave. His initial reservations about her resurrection are quickly subdued by his tunnel vision of love. But soon he finds she’s not the same as when she left. —Melissa Weller


the village poster (Custom).jpg 54. The Village
Year: 2004
Director: M. Night Shyamalan
After the warning shot that was Signs’ batshit ending, The Village was the moment that Hollywood officially began reconsidering all the praise and expectations they had lumped on M. Night Shyamalan. It’s a frustrating film that still has some admirers out there today, mostly for specific elements such as its performances or its lauded soundtrack. William Hurt in particular is really quite good in The Village, but it’s also the point where critics and audiences had caught up to the expectation for Shyamalan-style twist endings. And the “twist” of The Village is so laughably obvious that it recasts your entire perspective of the film—what’s supposed to be a big revelation instead has the viewer saying “Yeah … and ... ?” But there’s no “and”; the film should just jump to a cutaway of the director shrugging at you. It’s like driving across country, only to have your car die 10 miles away from your destination and walking the rest. Or as Roger Ebert said, “To call the ending an anticlimax would be an insult not only to climaxes but to prefixes.” —Jim Vorel


last shift poster.jpg 53. Last Shift
Year: 2014
Director: Anthony DiBlasi
Last Shift doesn’t really aspire to much, other than to cheaply 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


tales of halloween poster (Custom).jpg 52. Tales of Halloween
Year: 2015
Director: Various
As the title suggests, the film occurs over the course of a single Halloween, settling on one American suburb where ten yarns unfold against a backdrop of festivity. On occasion, the segments intertwine, either through the appearance of recurring characters or references to the aftermath of preceding material. Each short is as different in content as in style: “Sweet Tooth,” by Dave Parker, follows the tried-and-true method of the cautionary tale, while Axelle Carolyn’s “Grimm Grinning Ghost” sticks to the “vengeful ghost” paradigm with considerable success. Meanwhile, Darren Lynn Bousman keeps tongue firmly in cheek with “The Night Billy Raised Hell”; Neil Marshall skewers cop shows and cheesy monster flicks with “Bad Seed”; Mike Mendez blows kisses at slasher fare with “Friday the 31st”; Adam Gierasch corrals murderous kids in “Treat”; Paul Solet tells a tale of hellbound revenge with “The Weak and the Wicked”; the typically reliable Lucky McKee slips into incoherence with “Ding Dong”; Ryan Schifrin gets demonic in “The Ransom of Rusty Rex”; and, finally, Andrew Kasch teams with John Skipp to show what happens when home haunters clash in “This Means War.” Every viewer will have their 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


all the boys love mandy lane poster (Custom).jpg 51. All the Boys Love Mandy Lane
Year: 2006
Director: Jonathan Levine
All the Boys Love Mandy Lane is a pseudo-slasher that falls somewhere in the middle ground between Scream, Carrie and Friday the 13th, incorporating a certain ‘70s grindhouse sensibility along the way that might occasionally remind one of The Hills Have Eyes or The Texas Chainsaw Massacre. It was an early starring vehicle for Amber Heard, who is appealing as the “sweet young thing” who is considerably more twisted than meets the eye. The film veers away from classical slasher in the sense that the kills are more on the realistic side than the cartoonish, although the latter might actually have made it more memorable. As is, there’s nothing particularly wrong here—a certain lack of unique ideas, certainly, but a competently executed high school horror story that will feel comfortably familiar, right down to its third-act twist. You’ve been here before, but you probably won’t regret stopping by again. —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


when animals dream poster (Custom).jpg 49. 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


cabin-fever.jpg 48. Cabin Fever
Year: 2002
Director: Eli Roth 
Cabin Fever is a darkly humorous story about a group of friends who head to an Evil Dead-style cabin in the woods and face not a slasher or demons, but a killer too small and invasive to avoid: A flesh-eating virus. It is, to describe in a single word: icky. People with phobias about communicable disease, especially in the wake of the Ebola panic, will find this movie especially horrifying, especially once peoples’ faces start falling off. Everyone else is likely to laugh at the plight of the largely unlikable teens suffering this fate, and their understandably hysterical reactions to it. There’s a lot to laugh at—the comic relief deputy, and especially the infamous and profoundly weird pancake kid. Of course, like most slashers, we ultimately want the villain to win. Even if the villain is a virus. —Jim Vorel


would you rather poster (Custom).jpg 47. Would You Rather
Year: 2012
Director: David Guy Levy
Would You Rather is the kind of 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 protagonist—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. If this movie had been made in 1985, perhaps it would have been a minor classic. —Jim Vorel


extraordinary tales poster (Custom).jpg 46. 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. This anthology of animated, narrated stories by Edgar Allen Poe may be uneven in terms of quality, but dammit 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, 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. —Jim Vorel


as above so below poster (Custom).jpg 45. As Above, So Below
Year: 2014
Director: John Erick Dowdle
In the wake of Paranormal Activity, “found footage” as a horror sub-genre had a pretty tough time getting a fair shake from critics, and often from audiences as well. It’s not as if it wasn’t often warranted—anyone who remembers the likes of Apollo 18 can attest to that. Unfortunately, though, it often meant that even found footage movies with more ambition or verve than typical, such as Grave Encounters or As Above, So Below, went overlooked. This one gets by on high concept more than anything else—a camera crew descends into the legendary catacombs beneath Paris, but finds much more there than would meet the eye. One might expect such a story to involve mutants, or marauders, but As Above, So Below is considerably more cerebral—instead, the story unfolds as a metaphysical descent into hell with numerous parallels to Dante’s Inferno, as the camera crew confronts their own sins and failings. Even the jump scares are solid—in an era when shoddy found footage movies were being churned out en masse, As Above, So Below hardly deserves to be lumped in among its more forgettable peers. —Jim Vorel


little evil poster (Custom).jpg 44. 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 an exclusive for Netflix, Little Evil. An obvious parody of The Omen and other “evil kid” movies, Little Evil wears its influences and references on its sleeve in ways that, while not particularly clever, are at least loving. Adam Scott is the sad-sack father who somehow became swept up in a whirlwind romance and marriage, all while being unfazed by the fact that his new step-son is the kind of kid who dresses like a pint-sized Angus Young and trails catastrophes behind him wherever he goes. Evangeline Lilly is the boy’s foxy mother, whose motivations are suspect throughout. Does she know that her child is the spawn of Satan, or as his mother is she just willfully blind to the obvious evil growing under her nose? The film can boast a pretty impressive supporting cast, from Donald Faison and Chris D’elia as fellow step-dads, to Clancy Brown as a fire-and-brimstone preacher, but never does it fully commit toward either its jokes or attempts to frighten. The final 30 minutes are the most interesting, leading the plot in an unexpected direction that redefines the audience’s perception of the demon child, but it still makes for a somewhat uneven execution. Tucker & Dale this is not, but it’s still a serviceable return for Craig. —Jim Vorel


1922.jpg 43. 1922
Year: 2017
Director: Zak Hilditch
A chameleonic performance from Thomas Jane anchors this understated, gothic story set in Depression-era Middle America, told in the style of a confession by the husband who we can tell right from the get-go is haunted by some horrible crime. When his wife insists on selling the land she’s inherited rather than work it, Jane’s unsophisticated field hand harangues their son into becoming an accomplice in her grisly murder. As with every Grand Guignol tale, though, we already know that the worst part isn’t the act of killing, but the endless paranoia of living with it. In the case of the movie’s guilty narrator, that means a vengeful and inevitable haunting filled with all the foreboding and creepy imagery you came to see. Stephen King adaptations have their hits and their misses, but this is a solid, straightforward story that gets by on the power of a dread-steeped plot and some compelling performances by good character actors you’ll most likely always be happy to see get screen time. —Ken Lowe


blade 1998 poster (Custom).jpg 42. Blade
Year: 1998
Director: Stephen Norrington
History seems to have forgotten that the modern gold rush of “serious” Marvel comic book movies didn’t begin with Sam Raimi’s Spider-Man in 2002, or even Bryan Singer’s X-Men in 2000. In 1998, screenwriter David Goyer (The Dark Knight Trilogy) and director Stephen Norrington (uhh… The League of Extraordinary Gentlemen), brought a Marvel property to the big screen, and took full advantage of a hard-R rating. Likely because of not being one of the comic giant’s better-known characters, the filmmakers were able to make significant changes to the Daywalker, upping his coolness level since his debut in 1973’s Tomb of Dracula by about, say, a thousand-jillion percent—starting with casting Wesley Snipes, who absolutely crackles with badass-ness. This version of the half-vampire is the ultimate predator or predators who, along with his guru/weaponsmith Whistler (the awesomely grizzled Kris Kristofferson), slices and stakes his way through the secret vampire society. The history of this world’s vampires and their various castes is well-explored—and strangely believable. While they do clandestinely rule from the shadows, they unfortunately are (un)dead meat to our titular dhampir, and look nowhere as stylish wearing shades. —Scott Wold


40. vhs 2 (Custom).jpg 41. 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 40. 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 era, 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 hero 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


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. 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 (Sandra Escacena) who unwittingly invites evil into her home while conducting a ouija seance with her school chums. Where the movie shines best is largely on the presentation side: It 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


blade 2 poster (Custom).jpg 38. Blade 2 (Available Oct. 1, 2018)
Year: 2002
Director: Guillermo Del Toro 
Leave it to gothic horror extraordinaire Guillermo del Toro to take our unstoppable vampire hunter and crank the style past 11 as he plays up the comic book craziness to the tilt. Arguably even more enjoyable than its predecessor, Blade II sees a fragile alliance between Blade (Wesley Snipes) and the Bloodpack—basically, the Dirty Dozen of vampires—as they face off against Reapers (super-vampires who enjoy them some tasty vampire blood). Not only are there great new characters in the ’pack, but as this is a del Toro joint, there’s 100% more Ron Perlman. Fang-tastic. —Scott Wold


europa-report.jpg 37. Europa Report
Year: 2013
Director: Sebastian Cordero
With echoes of 2001, director Sebastian Cordero’s innovatively structured thriller enthralls with not only its apparent scientific accuracy, but the passion it portrays among a class of people historically characterized by pocket protectors, taped eyewear and social awkwardness. Aboard the Europa One (Kubrick’s vessel was called the Discovery One), the six scientists bound for Europa, one of Jupiter’s moons (HAL and his crew were headed for the gas giant itself), are living, breathing human beings, with families and fears, ambition and emotions. They’re also just smarter than most of us and on a mission more significant than any of us will experience ever in our lives. The stakes are high in this mock doc/faux found-footage mystery, in which the privately funded space exploration company Europa Ventures issues a documentary on the fate of its first manned mission to investigate the possibility of alien life within our solar system. The sacrifices may be steep, but Europa Report is convinced—and wants to convince you—that this is what it will take to explore such frontiers. —Annlee Ellingson


the babysitter poster (Custom).jpg 36. The Babysitter
Year: 2017
Director: McG
The Babysitter is a little guileless in its overt desire to be lovingly described as an ‘80s slasher homage, but simultaneously effective enough to earn a good measure of that approval it craves. With twists of Fright Night and Night of the Demons, it’s at its best not when trying to slavishly recreate a past decade, but when letting its hyper-charismatic teenage characters run wild. Stylish, gory and profane to a fault, The Babysitter features a handful of bang-up performances, like Judah Lewis as a late-blooming 12-year-old, Robbie Amell as a nigh-invincible football jock and Samara Weaving as the title character, the girl of Lewis’ dreams—right up until she tries to sacrifice him to the devil. Fast-moving (only 85 minutes!) and frequently hilarious, it’s probably the best unit of popcorn horror entertainment that Netflix has managed to put out so far. The Babysitter’s character chemistry actually justifies a second go-round, which I’d be happy to watch. —Jim Vorel


ravenous 2017 poster (Custom).jpg 35. Ravenous
Year: 2017
Director: Robin Aubert
Genre geeks didn’t seem to take a lot of notice of Ravenous, beyond its Best Canadian Film award at the Toronto International Film Festival—perhaps the result of an “indie zombie drama” subgenre that seems to have run its course through films such as The Battery, and perhaps because it’s performed in French rather than English. Regardless, this is a competently crafted little drama thriller for the zombie completist, full of excellent performances from no-name actors and an intriguing take on the results of zombification. The infected here at times seem like your standard Romero ghouls, but they’re also a bit more—lost souls who have hung onto some kind of strange, rudimentary culture all their own. These aspects of the zombie plague are always hinted at, never extrapolated, but it enhances the profound feelings of loss and sadness present in Ravenous. —Jim Vorel


teeth poster (Custom).jpg 34. Teeth
Year: 2007
Director: Mitchell Lichtenstein
You’ll find Teeth lodged in a crevasse somewhere between black comedy and horror film. A uniquely disturbing flick with a premise likely to gauge your reaction to it before you’ve ever actually seen it, it’s, to put it bluntly, about a young, abstinent girl whose first sexual experiences reveal a rare, deadly (and fictional) condition known as “vagina dentata”: 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, with 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 33. The Devil’s Candy
Year: 2015
Director: Sean Byrne
The set-up of The Devil’s Candy—Australian filmmaker Sean Byrne’s follow-up to his 2009 Carrie meets Texas Chain Saw Massacre riff The Loved Ones—suggests a cross between the haunted house and serial killer subgenres. The movie centers on a child murderer, Ray (Pruitt Taylor Vince), escaping the house that Jesse (Ethan Embry), his wife Astrid (Shiri Appleby) and his daughter Zooey (Kiara Glasco) subsequently move into, not fully aware of the extent of the supernatural horrors contained within. And with Ray first seen playing loud chords on an electric guitar to drown out the voices in his head, and with Jesse characterized as a long-haired artist with a predilection for heavy metal, the film initially appears like it will play around with that connection between metal music and devil worship, with which many have often decried that particular musical genre. The Devil’s Candy turns out to be more complicated than all that, though, in ways that are genuinely fascinating. Byrne’s film turns out to be less about heavy metal or even Satanism than about the psychological perils of artistic obsession. 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 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 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 32. The Ritual
Year: 2017
Director: David Bruckner
A prime example of what might be termed the “bro horror” subgenre, The Ritual’s characters are a band of lifelong mates united in mourning a friend who has recently been killed in a brutal liquor store robbery. Luke (Rafe Spall) is the member of the group who shoulders the greatest burden of guilt, being the only one who was in the store at the time, paralyzed with indecision and cowardice while he watched his friend die. The other members clearly blame Luke for this to varying degrees, and one senses that their decision to journey to Sweden for a hiking trip deep into the wilderness is less to honor their dead friend’s memory, and more to determine if their bond can ever be repaired, whether the recrimination stemming from the death is insurmountable. 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. Director David 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 31. 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

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