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The Best (and Worst and Weirdest) Horror Movies on Netflix

Netflix Streaming can be overwhelming — so many options, yet so hard to actually find — and we here at Vulture have tried to make it easier for you with our weekly and monthly streaming video roundups. Now that Halloween is nigh, it seemed appropriate to weed through every single horror movie currently available to stream on Netflix and point out the good ones, the bad ones, the disturbing ones, and the just plain silly ones. Read on:

THE GOOD
Everyone’s going to have differing opinions on what movies are great, but I think we can all agree that the ones below are more likely to fall in the plus column than the minus.

Scream and Scream 2: For many people under 30, these jokey yet scary Wes Craven deconstructions of the slasher film genre were the first real horror movies that they were allowed to see. The films still hold up, and the first movie’s use of the song “Red Right Hand” introduced me to Nick Cave, a worthy reason to love Scream on its own.

Carrie: Did you see the new film version of Carrie? Did you like it? Did you hate it? It doesn’t really matter, not with Brian De Palma’s 1976 original so easily accessible this Halloween. The movie manages to be both garish and sympathetic, balancing Sissy Spacek’s amazing performance with De Palma’s film geek split-screens and over-the-top use of color and music.

The Cabin in the Woods: You can look at this one as a combination of Scream and the Evil Dead movies. Produced and co-written by Joss Whedon, the clever movie has the same basic plot as the latter (young people head to the forest) but with the joyful meta-ness of the former. I can’t really write about Cabin in the Woods without blowing it for you, but be assured, if you love horror movies and aren’t too self-serious about that love, this will be a delightful experience.

Tucker and Dale vs. Evil: Not unlike Cabin in the Woods, a movie that completely flips the script, imagining those creepy redneck guys that always pop up in forest-adjacent horror movies as the nice ones, with the typically fragile college students as the aggressors. Witty and bloody.

Night of the Living Dead and Day of the Dead: George Romero redrafted the rules on zombies when he unleashed his visceral, slow-cooked Night of the Living Dead in 1968. The writer-director fuled his crude, black-and-white vision with allegorical anger — a world overrun by the dead wasn't far off from our own. By the time he got to Day of the Dead (Netflix Streaming skips the essential Dawn installment), the themes were razor sharp and gut-ripping more gruesome than ever. Day doesn't need legendary status to tie your stomach in knots.

Rosemary’s Baby: Along with The Exorcist, which came along five years later in 1973, this Roman Polanski film helped kick off the horror boom of the 1970s. It’s still all sorts of messed up. There’s a scene in which the lead character is raped by Satan, for Christ's sake. “This is no dream, this is really happening!”

The House of the Devil and The Innkeepers: Director Ti West’s movies might not be for the average horror fan. These two in particular are exercises in tension-building, experiments in how long you can “bore” your audience before pulling the trigger. I’d argue that it works better in House of the Devil than inThe Innkeepers, but both featured a classical type of horror directing that is rare these days.

Let the Right One In: An innocent love story that just happens to be about a young boy and his equally young (if ageless) vampire friend, this 2008 Sweden-set bloodsucker tale, remade for U.S. audiences in 2010 as Let Me In, is a masterpiece that floats between cold Scandinavian storytelling and steaming hot-blooded genre violence.

Hellboy: A horror comedy about a wisecracking demon fighting Nazis and supernatural monsters. Horror is a house with many rooms (horror/sci-fi, for example, though The Thing is sadly no longer available on Netflix Streaming) and funny movies take up one significant wing.

American Mary : Jen and Sylvia Soska emerged as the horror talent pool's premiere (and much-needed) female voices after American Mary hit big on the festival circuit. A grungy fable of body modification and financial crisis, the movie follows a medical student-turned-stripper who enters the dark world of underground surgery to make even quicker bucks. The Soska's refreshing style weaves female themes in with horror's gory legacy. A lady can spill blood with a bone saw as well as any dude.

The Frighteners: Peter Jackson’s first real Hollywood movie, and the one he directed before setting off on his now decade-plus-long Lord of the Rings binge, 1996's The Frighteners is another horror comedy. This one, however, stars Michael J. Fox as a man who develops the ability to communicate with ghosts. Fox’s presence is no small thing, especially since it was his last major movie role. The special effects, impressive at the time, still charm.

Evil Dead 2: Dead by Dawn: A sort of a sequel, sort of a remake, but bloodier and pitched as a semi-slapstick comedy. Together, they comprise the first parts of what should unofficially be known as the “Bruce Campbell Is a God” trilogy.

Event Horizon: Not well received upon its release, I still have a soft place in my heart for this 1997 space-horror movie. Maybe it’s because it stars Sam Neill, who was still riding high in my eyes after Jurassic Park and In the Mouth of Madness. Or maybe it’s because it’s about a haunted spaceship that doubles as the portal to hell! There’s some great nasty, nearly subliminal imagery in this one.

The Host: No, not the movie based on the Stephenie Meyer book; that was no good. This is the 2006 South Korean sea monster movie directed by Joon-ho Bong, and it’s very entertaining. Also, it remains one of the highest-grossing South Korean movies ever.

Re-Animator: There haven’t been that many great (or that many at all) H.P. Lovecraft adaptations on the big screen. Perhaps it has to do with the author’s creatures being so amazing-looking that they usually drive people who gaze upon them insane — a high barrier for any movie. But this one adapts one of Lovecraft’s less cosmically grand stories into a wacky and bloody tale about a medical student who just loves to bring dead things back to life.

Fright Night (1985): A movie that never decides if it's a straight up screamfest or a cheeky riff — and it doesn't have to. Everyone involved is in on Fright Night's silliness, wrestling with rubbery monsters and making their best scared stupid faces in shafts of overly theatrical lighting. Prince Humperdinck (a.k.a. Chris Sarandon) makes the skin crawl as the charming neighbor next door with some vampiric secrets. If only all horror movies could be this fun.

V/H/S and V/H/S 2: The anthology film has long been a staple of the horror genre, but this franchise had the genius stroke of tagging on to the latest stylistic boom and making all of its shorts found-footage stories. Each segment has a different director and therefore has a completely different style and feel and conceit — making V/H/S and its sequel completely schizophrenic and all the better for it. Some critics called the first film out for its lack of cohesion, which seems to run counter to the purpose of an anthology film.

You're Next: Two members of Team V/H/S, Adam Wingard and Simon Barrett, evolve past the found footage gimmick to rejuvenate the slasher in this overlooked 2013 highlight. With all the '80s reboots vying for attention, it only takes You're Next a thoughtful motive, a dash of comedy, and an array of inventive kills to rise above the rest. In an alternate dimension where animal-masked hunters don't show up at a house, Wingard and Barrett's characters would implode in The Family Stone-like fashion. It's all the better that someone comes to kill them.

Some other good movies to check out: The Blair Witch Project (the found footage movie that started it all); Hellraiser (Clive Barker, puzzle box, pinhead); The Bay (found-footage movie about a deadly parasite, directed by Barry Levinson!); Troll Hunter (another found-footage movie, this one a Norwegian mockumentary about the title creature);  The Legend of Hell House (a haunted house movie where atmosphere hangs in the air longer than any ghost); Night Watch and Day Watch (directed by Wanted’s Timur Bekmambetov, these are the first two entries in an insane supernatural saga — at the time of its release, Night Watch was the highest grossing Russian film ever released in that nation.); From Dusk Til Dawn (TK); Here Comes the Devil (a satanic mystery set in hills of Mexico); World War Z (The magic reshoots downsizes the second half of Brad Pitt's zombie epic into a the right kind of claustrophobic scarefest); The Pact (a spiffy haunted house movie with enough ambition to keep those with trope know-how on their toes); Night of the Creeps (a B-movie tribute that squeezes aliens, zombies, parasites, and noir detectives into its earnest mold); Jug Face (not only do backwood crazy folk sacrifice women to an ancient monster, they rub it in by sculpting clay jugs in the image of their victims faces); The Den (an internet horror-thriller that will help you forget Feardotcom); Ju-On: The Grudge (before arriving stateside and devolving into parody, those creepy pale ghost kids terrorized Japanese victims); Stake Land and We Are What We Are (one's a post-apocalyptic vampire road movie, the other a brooding tragedy of family and cannibalism — polar opposites from the mind of writer-director Jim Mickle). For old school horror buffs in a silent mood, there’s the original big bad vampire, Nosferatu (as well as director F.W. Murnau’s Faust). Finally, there’s the fun and cheesy 1959 Vincent Price flick House on Haunted Hill.

THE BAD
The ABCs of Death (anthology horror with a great concept — one death for every letter of the alphabet — that also proves to be its own undoing, since we’re talking about 27 shorts!); Leprechaun (a movie that can't make Warwick Davis chasing Jennifer Aniston around in a wheelchair goofy fun); Children of the Corn (a risible Stephen King adaptation that spawned almost ten sequels — you’ll get acquainted with them later); Scream 3 (we get it, Wes, we get it); Aftershock (Hostel director Eli Roth stars even though he’s most definitely not an actor, Inglourious Basterds’s Bear Jew notwithstanding); Apollo 18 (moon rock monsters: not that scary); A Haunted House and Scary Movie 2 (all written by Marlon Wayans); Darkness Falls (From Teenage Mutant Ninja Turtles 2014 director Jonathan Liebsman, a horror movie about the tooth fairy); Jack Frost (The snow-bad-its-good-but-actually-terrible horror movie of 1996); Devil (remember when this trailer played before a movie and everyone laughed at the line, “From the mind of M. Night Shyamalan"?); Brain Dead (this is not the Peter Jackson movie, though Bill Paxton and Bill Pullman are both in it, so you’ll never confuse them again); The Prophecy (Christopher Walken starred in three movies as the archangel Gabriel, which is kind of perfect and also kind of dumb); Mimic (Guillermo del Toro directed this Mira Sorvino giant bug movie, and he was very displeased with the final product, as was I); The Hole (not even Howling and Gremlins director Joe Dante returned to the big screen in 2012... four years after he shot this meandering, kid-centric movie); Grave Encounters and Grave Encounters 2 (better off marathoning actual Ghost Hunters episodes); Cursed (Another Craven misfire, this time with werewolves); Bruiser (the forgotten George Romero film, having come out between The Dark Half  — also on Netflix — and Land of the Dead); Contracted (a killer STD has major metaphorical potential); The Wishmaster (there is a point where relentless blood and guts just start looking like mush) The Possession (Same jump scares, same “based on a true story” premise, but now the ghosts pop out of a dybbuk box)  Dead Silence (Saw and Insidious director James Wan attempt at a serious killer doll movie); All Cheerleaders Die (a biting satire of female horror characters that forgot to sharpen its teeth); The Awakening (It's unjust how hard Rebecca Hall works to make this ghost story play); John Dies in the End (a fury of Supernatural-like weirdness that Phantasm director Don Coscarelli can't keep on a leash); Argento's Dracula (the Susperia director gives Dracula the power to morph into a giant grasshopper, so there's that); The Black Sleep (an Ed Woodian knock-off of Universal monster movies starring fading stars Basil Rathbone, Lon Chaney Jr, and Bela Lugosi); Stage Fright (Scream meets Glee for a horror musical that sounds great on paper); The Last Days on Mars (John Carpenter couldn't make “zombies on Mars” work and neither can this flashy indie).

THE FUCKED-UP
The Human Centipede and The Human Centipede 2: Full Sequence (if you don’t know the conceit of these two films, you live in a happier place than I do); Henry: Portrait of a Serial Killer (this movie came out at a time — the mid-Eighties — when movie murderers and serial killers were seen primarily in jokey or cheap slasher films. This film feels different, more raw. The Walking Dead’s Michael Rooker plays the title character.); Ravenous (19th century cannibals can be funny as long as Robert Carlyle and Guy Pearce are doing the (scene) chewing); The Snowtown Murders (grim Australian serial killer story); Maniac (Elijah Wood in the remake of a 1980 movie about a killer who likes scalps; the murders are shown from the point of view of the killer.).

SILLY BUT FUN '80s MOVIES
Flowers in the Attic (based on the 1979 V.C. Andrews novel and starring Louise Fletcher as an evil grandmother who locks away her grandchildren,l the product of incest, in her mansion's attic); The Stuff (killer yogurt/ice cream --seriously, it's a brilliant idea); House and House II: The Second Story (haunted house movies, the first featuring Cheers's George Wendt and the second featuring Cheers's John Ratzenbeger.); The Vineyard (an evil scientist captures co-eds to turn them into magical youth wine!); C.H.U.D. (for your next movie trivia night, the title acronym stands for "Cannibalistic Humanoid Underground Dweller"); Zombie High (young Virginia Madsen and Paul Feig star in a movie where the zombies enrich brains instead of eat them); The Toxic Avenger and Class of Nuke'em High (love'em or hate'em, Troma shaped a brand of grossout horror comedy all their own).

KILLER ANIMALS
Sharks, snakes, poultry, etc ...

Frogs
Slugs
Rodentz
Poultrygeist: Night of the Chicken Dead
Spiders
Humanoids from the Deep
King Kong
(1976)
Konga
Orca: The Killer Whale
Breeders
Shakma
2-Headed Shark Attack
Barracuda

THE MARIO BAVAS
Bava was an Italian director who made his name in the “giallo” subgenre of the Sixties and Seventies. The first films below are two of his most famous — Sabbath is a three-part horror anthology film from which the metal band took its name, and Sunday has a scene in which a mask of nails is pounded into a woman’s face.

Black Sabbath
Black Sunday
Bay of Blood
Kill Baby Kill
The House of Exorcism
Baron Blood
The Girl Who Knew Too Much
Hatchet for the Honeymoon
Lisa & the Devil

THE AMAZINGLY TITLED
These pretty much speak for themselves, don’t they?

Strippers v. Werewolves
Pinocchio's Revenge
Gangs of the Dead
Shrooms
Cockney's vs. Zombies
Blood Surf
Satan's Little Helper
The Serpent and the Rainbow
Virgin Witch
The Blood Beast Terror
Cheerleader Massacre
Attack of the Puppet People
The Devil Within Her
Tromeo & Juliet
Zombie Ass: Toilet of the Dead
Female Vampire
The Sinful Nuns of St. Valentine
Mountaintop Motel Massacre
Zombie Apocalypse: Redemption
To Catch a Virgin Ghost

ANYTHING CAN BE HAUNTED
Even your queue.

Haunt
Haunting Me
The Haunting in Connecticut 2
A Haunting at Silver Falls
A Haunting in Salem
The Haunting of Whaley House
The Haunting of Amelia
The Haunting of Rebecca Verlaine
The Haunting of Helena
The Amityville Haunting
The Bell Witch Haunting

THE ENDLESSLY SEQUELIZED
Again, because of Netflix Streaming’s slapdash collection, many franchises have sequels available to watch, but not the originals. Such as the following:

Paranormal Activity 4
Creepshow 2
The Hills Have Eyes 2
(1987)
Quarantine 2: Terminal
Halloween 6: The Curse of Michael Myers
Friday the 13th: Part 7: The New Blood
From Dusk Till Dawn 2: Texas Blood Money
Hostel: Part III
[Rec] 3: Genesis
Firestarter 2
Ju-On 2
Return of the Killer Tomatoes
Insidious Chapter 2
Curse of the Puppet Master
Texas Chainsaw
(2013)

And then there are the franchises that just keep going on and on.

Howling III: The Marsupials
Howling IV: The Original Nightmare
Howling V: The Rebirth
Howling VI: The Freaks
The Howling: Reborn

Hatchet II
Hatchet III

Mimic 2
Mimic 3: Sentinel

The Crow: City of Angels
The Crow: Salvation
The Crow: Wicked Prayer

From Dusk to Dawn 2: Texas Blood Money
From Dusk to Dawn 3: The Hangman's Daughter

The Toxic Avenger Part II
The Toxic Avenger Part II: The Last Temptation of Toxie

Children of the Corn III: Urban Harvest
Children of the Corn IV: The Gathering
Children of the Corn V: Fields of Terror
Children of the Corn 666: Isaac's Return
Children of the Corn 7: Revelation
Children of the Corn: Genesis

The Prophecy II
The Prophecy III: The Ascent
The Prophecy: Uprising
The Prophecy: Forsaken

Hellbound: Hellraiser II
Hellraiser III: Hell on Earth
Hellraiser: Bloodline
Hellraiser: Inferno
Hellraiser: Hellseeker
Hellraiser: Deader
Hellraiser: Hellworld
Hellraiser: Revelations