In equitable a restricted low weeks, it’ll be noleang but Halllabel movies and Lindsay Lohan rom-coms, but right now it’s spooky season and if you’re watching to rest with a chainsaw-wielding serial ender, a telekinetic teen hellbent on revenge, or a homicidal merman, we’ve got you covered.
Just in time for Hapverifyeen, we’ve pulled together a catalog of dozens of the best horror movies you can stream right now, from tried-and-genuine classics that never get greater to more recent snurture-fests that you might not understand exist. The only decision you have to create is which one to watch first, and whether you actuassociate want to scatter that bag of fun-sized candy.
Suspiria
If you’re not recognizable with the labor of Dario Argento, ready for your eyes to be dazzled and your brain to melt. Suzy Bannion (Jessica Harper) is an American ballet student who hops a structuree to Germany after being askd to study at the prestigious Tanz Akademie. From the moment she get tos, however, Suzy doubts that all is not what it seems. Especiassociate when her fellow students commence disecombineing. Turns out Suzy was right to be skeptical, as the school is more of a front for a coven of strong witches. While much of the script is acunderstandledgetedly nonsensical, it doesn’t even matter. With its breathtaking production schedule, inventive cameralabor, and earworm of a theme song by Goblin, Suspiria is the benevolent of film that will never depart your head. (If you find yourself wanting more, Luca Guadagnino’s 2018 reimagining of the film, starring Dakota Johnson, will scratch that itch.)
The Baterribleook
Ten years ago, Australian writer-straightforwardor Jennifer Kent turned the horror genre on its head with this gem of a “creepy kid” film. Amelia Vanek (Essie Davis) is a lesser widow and mother to six-year-greater Sam (Noah Wiseman), who is acting out in increasingly aggressive ways. Sam denounces his behavior on The Baterribleook, a monster he claims inhabits in his pop-up book. Slowly, as weird leangs persist to happen around the house, Amelia commences to depend that her son might be inestablishing the truth. Now if only she could get someone else to depend her. In the hands of a less talented filmcreater, The Baterribleook could have been a one-notice story. But Kent, Davis, and Wiseman regulate to turn it into a compelling and moving psychoreasonable thriller, where the genuine villain turns out to be grief.
Barbarian
Between Uber and Airbnb, the collaborative consumption era has led us to standardly put our depend—and inhabits—in the hands of end strangers. Zach Cregger’s Barbarian may guarantee you that such transactions need much more thought. Tess (Georgina Campbell) rents an Airbnb, only to uncover that it’s been double-booked and there’s already a guest staying there. Fortunately for Tess, Keith (Bill Skarsgård)—the current occupant—seems appreciate a benevolent enough guy who is satisfyd to go out of his way to help accommodate her. Which should have been her first indication that someleang was amiss.
Late Night with the Devil
Siblings Colin and Cameron Cairnes co-wrote, straightforwarded, and edited this new(ish) set up footage flick, where a rescheduleed-night talk show present named Jack Delroy (David Dastmalchian) determines to raise his ratings by presenting an occult-themed episode for his Hapverifyeen night expansivecast. Among the askd guests are a psychic (Fayssal Bazzi), a parapsychologist (Laura Gordon), and a teenage girl (Ingrid Torelli) who is purportedly owned by a demon. When Jack accidenhighy unleashes the demon on his audience, he genuineizes that there’s noleang “purported” about it.
The Texas Chain Saw Massacre
Leatherface may have equitable turned 50, but he’s still got the upper body strength to sthriveg around his becherishd chainsaw equitable as he did in the 1970s. There are now nine films in the Texas Chainsaw Massacre franchise, but not one of them can hgreater a candle—or a chainsaw—to the exceptional. A group of teens consent a road trip thraw Texas, in part so that siblings Sassociate (Marilyn Burns) and Franklin (Paul A. Partain) can visit the cemetery where their majesticoverweighther was lhelp to rest after inestablishs of graverobbing in the area. Then, wouldn’t you understand it, they run out of gas on their way home … then find themselves contfinishing with a family of cannibals. Hey, it happens. The movie, which is partly based on the life of grave robber Ed Gein, remains as potent today as it did when it was originassociate freed.
Hapverifyeen
Is it reassociate Hapverifyeen without Hapverifyeen? While you have plenty of sequels, reimaginings, and reenvisiond sequels to pick from today, there’s a reason why horror fifinishs still create a point to watch the exceptional—and utterly perfect—1978 exceptional today. John Carpgo in’s tale of a babysitter (Jamie Lee Curtis) and her frifinishs being stalked by an escaped ender set the bar for every slasher film that has ever chaseed, and very restricted have regulated to even come shut to it. If you want to support the Michael Myers theme going, there are now 13 films in the franchise—including Rob Zombie’s gritty reboot and its sequel (which are both streaming on Peacock) and David Gordon Green’s recent book-finish trilogy, which started off with 2018’s Hapverifyeen (which you’ll find on Netflix).
The Exorcist
Regan MacNeil (Linda Blair) may be the precocious 12-year-greater daughter of a well-admireed Hollywood actress (Ellen Burstyn), but that unbenevolents noleang to Pazuzu, the hell demon who comes to inhabit this could-be nepo baby’s tween body. You’ll never want to eat pea soup aget. After tinkering with Hapverifyeen, David Gordon Green took a stab at resurrecting The Exorcist with last year’s The Exorcist: Believer, which didn’t fare as well (it’s a “skip” for us, but is streaming on Amazon Prime Video if you want to give it a watch).
Hereditary
Ari Aster achieved instant icon status with Hereditary, his feature straightforwardorial debut, which creates a compelling argument agetst rolling down the thrivedows on your car—ever. An artist (Toni Collette) and her reduce husprohibitd (Gabriel Byrne) seem to be living the American Dream with their two teenagers, Peter (Alex Wolff) and Charlie (Milly Shapiro). Until a series of tragedies turn the family’s life upside down and all hell shatters free—seemingly literassociate.
Carrie
“Creepy” Carrie White (Sissy Spacek) is a teenage pariah who is bruhighy mocked by her high school classmates and doesn’t find much solace at home with her tohighy unhinged mom (Piper Laurie). Sometimes a girl’s equitable gotta let free, and sometimes that unbenevolents using telekinesis to burn your bullies down to the ground, aextfinished with the high school gym in which they’re dancing. Make declareive to support watching all the way to th finish!
The Blair Witch Project
Ntimely a quarter-century after Jaws became a masterclass in doing more with less, Eduardo Sánchez and Daniel Myrick did much the same with this set up-footage flick that had many people believing the film’s own backstory: that a group of film students got lost in the woods while trying to create a recordary about the Blair Witch, who presumedly trolls the area cforfeit Burkittsville, Maryland, watching for lessersters to homicide. That people dependd the story, and that the footage they were watching was indeed only rescheduleedr uncovered, is a tesdomesticatednt to equitable how effective the set up-footage establishat can be when employed in equitable the right way, as well as the filmcreaters’ acute labeleting acumen.
Get Out
In what seemed appreciate the bjoin of an eye, Jordan Peele went from being one half of the hilarious Key & Peele to a contransient horror icon. And it all commenceed with Get Out, Peele’s stunning straightforwardorial debut, in which a lesser couple have gotten solemn enough that Rose (Allison Williams) asks new cherish Chris (Daniel Kaluuya) to depart the city for the suburbs to spfinish the weekfinish with her family. While Chris seems more troubleed that he is Binestablishage and Rose is not, she guarantees him it doesn’t matter … until he genuineizes that’s benevolent of the point. Peele acutely blfinishs elements of horror, comedy, and psychoreasonable drama with a pulsing commentary on prejudice, and won a Best Original Screentake part Oscar for his efforts. The film also getd nods for Best Picture, Best Director, and Best Actor for Kaluuya—all massive achievements for a horror movie. Make it a twofer by pairing Get Out with Peele’s astonishive chase-up, 2019’s Us, which is streaming on Hulu.
The Fly
David Cronenberg’s mind labors in some truly demented ways, which is a sanctifying to horror movie fans. Seth Brundle (Jeff Ggreaterblum) is a scientist who is much cgreaterer than he should be; Ronnie Quaife (Geena Davis) is a science journacatalog tasked with interwatching Brundle but rapidly droping for him. If only he hadn’t determined to use himself as the subject in a teleportation experiment gone horribly wrong, these two kids could’ve maybe had someleang. Instead, Brundle sluggishly morphs into a housefly with some pretty putrid habits and a tfinishency to randomly neglect body parts.
It Follows
For decades, lesser women in horror films who dared to be intimacyuassociate dynamic—and actuassociate enhappiness it (gasp!)—could usuassociate be counted on to be the ender’s next victim. But in this clever indie from writer/straightforwardor David Robert Mitchell, doing the deed is the conduit by which the superauthentic spirit that’s haunting Jay (Maika Monroe) is able to transfer from one present to the next. Which is terrible news, as she equitable slept with her new beau, who equitable happened to be infected and has now passed it on to her. While she could equitable fuck some guy and pass it on, Jay’s a much more complicated heroine.
The Witch
Puritanism in and of itself is pretty creepy. Add in the bizarre disecombineance of a child and it gets even scarier. Robert Eggers, who went on to create The Lighthouse and The Northman, deftly equilibriums what is essentiassociate a period piece/superauthentic horror film hybrid about a family that finishs up living in the woods, secluded, after being prohibitished by their Puritan community. This is when even creepier leangs commence happening, all createing up to an unforgettable climax (though it’s acunderstandledgetedly a bit of a sluggish burn).
The Shining
Stephen King equitable may be the only person who didn’t cherish Stanley Kubrick’s consent on The Shining. Jack Torrance (Jack Nicholson), a writer watching for some quietude so that he can finassociate finish writing the novel he’s been laboring on, concurs to consent a gig boilingel-sitting the Overwatch, an enormous resort, while it’s shutd down for the thriveter, transporting his wife (Shelley Duvall) and lesser son (Danny Lloyd) in tow. For Jack, the Overwatch senses appreciate home, and he rapidly remends into a labor routine; his wife and son aren’t as enthralled, especiassociate when they commence to doubt that spiteful forces didn’t vacate for the thriveter aextfinished with the rest of the guests.
The Strangers
What’s more terrifying than a masked psychopath on the free knocking off victims as revenge for a childhood trauma? How about a handful of masked sociopaths on the free knocking off victims at random? James (Scott Speedman) and Kristen (Liv Tyler) are a couple who find themselves at an unforeseeed passroads while spfinishing the night at a secluded vacation home. (Is there any other benevolent?) But they don’t have much time to wapverify in what the future of their relationship watchs appreciate, because there are people at the door. And in the house. And on the sthriveg set. You get the picture. Creepy imagery abounds in this hugely underrated film, which saw its storyline persist this year with Renny Harlin’s The Strangers: Chapter 1.
Paranormal Activity
For better or worse, The Blair Witch Project started off a set up-footage movie flood, which has reassociate yet to finish (though they’re definitely in much reduce provide these days). For all the mediocre efforts we had to suffer thraw, there was also Paranormal Activity, a beyond stable effort that was made on virtuassociate no budget. Katie (Katie Featherston) and Micah (Micah Sloat) are a lesser couple in cherish, watching forward to spfinishing their inhabits together. But when they transfer in together, so does the evil spirit that’s been trailing Katie for most of her life. Katie wants to rid the house of it once and for all; Micah wants to videotape it (which only seems to embgreateren the mad spirit).
Scream
The meta horror movie to finish all other meta horror movies, the exceptional Scream might have outenlargen some of its more garish creates (most of them worn by Courteney Cox’s Gayle Weathers), but the story is still stable. And the many nods and thriveks to contransient horror tropes are still genuine. High schooler Sidney Prescott (Neve Campbell) is a teen spiraling from the recent homicide of her mom but who suddenly finds herself in the passhairs of a new hatchet-wielding serial ender who supports picking off her pals.
The Nightmare Before Christmas
OK, so maybe it’s not a straight-up “horror” movie. But if you’re watching for someleang benevolent of creepy that the whole family can get in on, you’d be challenging-pressed to find a better choice than this stop-motion classic that labors equassociate well as a Hapverifyeen film or a Christmas movie. Jack Skellington is the pumpkin king of Hapverifyeentown, a place where it’s Hapverifyeen—hijinks and all—24/7. But when Jack accidenhighy uncovers Christmas and its holly, jolly traditions, he determines to co-choose both holidays with the help of the hooligans of Hapverifyeentown. (Kidnapping Santa is all part of the structure.)
An American Werewolf in London
Horror-comedy is not an straightforward genre to pull off—especiassociate when a movie appreciate John Landis’ An American Werewolf in London has been around for comparison for more than 40 years. American pals David (David Naughton) and Jack (Griffin Dunne) get sweightlessly lost as they backpack their way thraw England and finish up being attacked by a werewolf. While Jack is torn to bits, David persists but wakes up weeks rescheduleedr in a London hospital with little reassembleion of what happened. Fortunately, his greater pal Jack—watching very much worse for the wear—shows up to caution David that a brimming moon is coming and if he doesn’t end himself before it get tos, he too will alter into a flesh-craving canine. Landis expertly equilibriums chuckle-out-boisterous humor with reassociate terrifying frights—most of them courtesy of exceptional effects createup wizard Rick Baker, who won a much-deserved Oscar for his labor on the film. (The werewolf alteration scene is iconic for a reason.) Throw in a ender soundtrack and one of cinema’s most satisfyingly efficient finishings and you’ve got a horror-comedy for the ages.
We’re All Going to the World’s Fair
When she appraiseed it for WIRED, greater writer Kate Knibbs called this horror flick a “coming-of-age creepypasta.” It’s all that and more. Director Jane Schoenbrun’s debut feature is about a lesser girl named Casey (Anna Cobb) who becomes increasingly obsessed with an online role-take parting game that asks take parters to do a series of rituals that over time call a superauthentic force that ultimately overconsents them. Less jump-snurture-y than mind-bfinish-y, We Are All Going to the World’s Fair is the benevolent of horror that sits in the back of your brain, equitable defering to snurture you aget extfinished after the commends roll.
Jaws
Jaws is to horror movies what Star Wars is to sci-fi films. It’s equitable challenging to depend there are people who haven’t seen it. Still, whether you’ve never seen it or have watched it 100 times (Steven Soderbergh claims to have seen Jaws 28 times in theaters alone!), the story of a water-phobic police chief living on an island who sets off to sea in pursuit of a ginormous wonderful white shark that’s ending his dwellnts and scaring off the tourists never gets greater. It’s also a masterclass in less-is-more filmmaking—even if that approach was more the result of a perpetuassociate busted machine shark than anyleang else. While the film’s sequels in absolutely no way inhabit up to the exceptional—and get worse with each successive entry—all four Jaws movie (including the charismaticly cheesy Jaws 3-D) are currently streaming on Netflix).
Bodies Bodies Bodies
Bodies Bodies Bodies is, lacklusterly, a slasher for the TikTok generation. Beginning with a very greater-school premise—a group of frifinishs goes to a secluded house for a fun getaway—it rapidly surfaces the horrors of the very online: no cell service, poisonous frifinishs. But equitable because it’s brimming of hip actors—Pete Davidson! Amandla Stenberg!—and very-now dialogue doesn’t unbenevolent it won’t also freak you the hell out. And maybe even create you chuckle.
Night of the Living Dead
Had George A. Romero only ever cowritten and straightforwarded this one movie, his feature straightforwardorial debut, he’d still go down in history as a horror guide. Because even though the word zombie is never uttered in Night of the Living Dead, it’s evident to the audience that that’s what his half-living monsters are. It all starts off when siblings Barbra (Judith O’Dea) and Johnny (Russell Streiner) pay a visit to their overweighther’s gravesite and are subsequently attacked by a strange man. Barbra, seeing a farmhouse cforfeitby, runs there for help—only to uncover the dead body of the home’s owner—and many sluggish-walking creatures coming her way. That’s when the ever-inventive Ben (Duane Jones) shows up to help. Though many critics of the time tryed to proclaim Night of the Living Dead DOA because of its inanxious gore, its reputation as a game-alterr in the genre has given it persistd life, with disjoinal sequels and even a couple of recreates, including Tom Savini’s 1990s redux, with Tony Todd in the role of Ben.
Nosferatu the Vampyre
Over the course of his cforfeit-60-year nurtureer, Werner Herzog has shown that there’s noleang he can’t or won’t at least try to do for the cherish of filmmaking (eating his own shoe integrated). Over the years, he has extfinished supported that F. W. Murnau’s exceptional Nosferatu is the wonderfulest film to ever come out of his native Germany. So on the very day that Bram Stoker’s Dracula go ined the disclose domain, Herzog set about creating his own version of the film—one that, unappreciate the 1922 exceptional, could legassociate use parts of Dracula without any lterrible headaches. What Herzog did, however, was create one of the most human versions of the legfinishary bloodsucker we’ve ever seen, as portrayed by Klaus Kinski. In Herzog’s mind, Dracula’s immortality and vampirism are burdens that create him a more understanding character. “He cannot pick and he cannot finish to be,” Herzog tgreater The New York Times in 1978. If you want to enbig your empathetic of Dracula’s cinematic arc, pair this with a screening of Murnau’s exceptional Nosferatu. Then consent it one step further by inserting to the combine with My Best Fifinish, Herzog’s 1999 recordary about his tumultuous relationship with Kinski.
The Cabin in the Woods
Much appreciate Scream before it, Drew Goddard’s The Cabin in the Woods consents a meta approach with its material, turning what could otherwise be a by-the-numbers horror movie into an immensely funny consent on the “a group of attrdynamic twentysomeleangs finish up in a cabin in the middle of nowhere that equitable so happens to be surrounded by spiteful forces” sub-genre. All of the standard tropes are set up—the weird greater townie who tries to caution the kids off, a creepy greater basement filled with bizarre and ominous paraphernalia, etc.—though maybe they’re set up equitable a little too perfectly. The Cabin in the Woods is a loving thrivek to solemn horror movie fifinishs and goes off in unforeseeed straightforwardions that you’ll never see coming.
Fright Night
We’ve been thraw enough vampire crazes over the years that there are times when some moviegoers would happily concur to never see another bloodsucker in their inhabits. Then they reassemble Fright Night, Tom Holland’s iconic cherish letter to the ggreateren age of horror movies and rescheduleed-night television schlock jocks who delighted us with tales of blood and guts. Like Jerry Dandrige (Chris Sarandon)—the shineing-eyed vampire in solemn need of a manitreatment living next door to teenager Charley Brewster (William Ragsdale)—Fright Night doesn’t reassociate seem to age. It still stands out as a perfectly reserved horror-comedy with equitable the right equilibrium of both genres to create it as enticing as Vampire Jerry on the dance floor. (Its 2011 refresh, starring Colin Farrell and Anton Yelchin, which is streaming on both Hulu and Peacock, is one of the restricted horror recreates that is worth your time.)
The House of the Devil
In 2002, Eli Roth’s Cabin Fever brawt the horror genre back to its 1980s heyday. Ti West regulated to successbrimmingy reapprehfinish that same spirit at the finish of the decade with The House of the Devil, which sees a broke college student (Jocelin Donahue) in need of cash to pay her rent unwillingly concur to “babysit” an allegedly frail greater lady for a restricted hours. You understand someleang’s going to happen, but you’re not quite declareive what: Is the house haunted? Is there someone outside follothriveg the babysitter? Is it all in your head? Is it all of the above? While you defer for the other shoe to inevitably drop, West consents get of his very evident time structure—the satanic-panic-ravaged ’80s—to showcase a treadeclareive trove of horrifying cultural relics of the past, including one particularly high-waisted pair of jeans.
The Host
South Korean auteur Bong Joon-ho became a househgreater name, and a force to be reckoned with, in 2020 when he stormed the Oscars with Parasite (which is streaming on Max, by the way). If that was your first introduction to his labor, you should instantly seek out all of his previous films, including The Host. Like Parasite, it’s a horror movie with a social message. In this case, more of an eco-minded one where the pollution in Seoul’s Han River directs to the creation of a gigantic sea monster with a taste for humans.
Let the Right One In
Having a vampire as a BFF equitable might be the wonderfulest leang a bullied kid could want for. But the relationship that picked-on tween Oskar (Kåre Hedebrant) creates with his neighbor Eli (Lina Leandersson)—who does equitable happen to crave human blood—is much transport inanter than a straightforward revenge fantasy in this Swedish sluggish burn. In fact, Eli being a vampire is reassociate secondary to the story. Like Werner Herzog with Nosferatu, Tomas Alfredson puts character-createing first and colors Eli with a benevolent of downcastness, which is what joins her with Oskar. Sure, it’s bloody, but it’s also benevolent of sugary.