The 25 Scariest Movies on Netflix: ‘His House,’ ‘Creep,’ ‘The Ritual,’ ‘Fear Street,’ and More (2024)

‘A Nightmare on Elm Street’ (1984)

Almost every installment in the ‘A Nightmare on Elm Street’ slasher series can be enjoyed on Netflix, from the queer classic ‘Freddy’s Revenge’ to the reviled 2010 remake. If you haven’t seen any of the films, however, the best place to start remains the iconic 1984 original, which still remains the shining peak of the franchise. Its the film that best captures the terror of the premise, which pits a group of teens against a slasher who haunts them at their most defenseless, in their dreams. And Robert Englund is at his most terrifying in the 1984 original, playing the scarred Freddy Kruger as a jokester whose wit only barely hides his ruthlessness. —WC

‘Wes Craven’s New Nightmare’ (1994)

Once you’re finished with the first ‘Nightmare on Elm Street,’ check out the second best installment in the franchise — although ‘New Nightmare’ isn’t quitein the franchise, rather taking place outside of it. In a precurser to the meta horror of ‘Scream,’ ‘New Nightmare’ takes place in a world where ‘A Nightmare on Elm Street’ is a successful franchise. But when the star of the first film Heather Langenkamp begins having strange nightmares about Freddy Krueger, reality between fact and fiction blurrs. Coming at a time when the ‘Nightmare on Elm Street’ franchise was in a creative rut, ‘New Nightmare’ is a wildly inventive take on the slasher, one that considers how the media we consume shapes our darkest fears. —WC

‘Bodies Bodies Bodies’ (2022)

‘Bodies Bodies Bodies’ is more funny than scary, though there’s still plenty of blood and scares for horror fans to latch onto. The A24 slasher from director Halina Reijn stuffs a group of wealthy Gen Zers in a mansion and sees them die one by one, as the group scrambles to figure out who’s causing the killing. It’s a setup seen in dozens of movies, but ‘Bodies Bodies Bodies’ makes it fresh by making the characters into toxic personalities who are too self-absorbed to really see each other. The result’s a whirlwind of biting one-liners and comedic fights, with the ever-lurking threat of death hanging over the characters. —WC

‘The Babadook’ (2013)

In the last 20 years, no director has come to her first feature so fully formed as both a storyteller and a master of cinema as actress-turned-writer/director Jennifer Kent. Kent’s tale of a widowed mother (Essie Davis) battling her son’s fear of a storybook character come to life is hide-under-your-seat terrifying, but instead of relying on lazy scare tricks that have come to define the genre in recent years, Kent uses carefully crafted compositions and clockwork-like precision to build tension and draw viewers into a scene. Kent is not simply a master technician, but one who uses the horror genre to tackle a subject (the burden of motherhood) that doesn’t get discussed in polite company and creates something that is far more hard-hitting than any “important” piece of Oscar bait. —CO

‘X’ (2022)

Its prequel “Pearl” is superior, but Ti West’s ’70s throwback slasher ‘X’ is still a creepy good time at the movies. Headlined by Mia Goth in a dual role as a p*rn starlet making a film in a Texas barn and the unsettling older woman that stalks her and her friends, ‘X’ mixes enjoyable sleeze with real thrills and scares to terrific effect. It helps that West has such a terrific eye for creating unforgettable kills, including a standout ‘Don’t Fear The Reaper’ stabbing and some messy business with a crocodile that’ll give you some nightmares after your first watch. —WC

‘It Follows’ (2014)

“It’s right behind you!” is a common, and cheesy, horror refrain, but David Robert Mitchell’s lyrical coming-of-age vision gave it entirely fresh currency. A murderous creature visible only to the afflicted pursues its prey with a slow, relentless march forward, manifesting as their worst fears; the only solution is to have sex with someone to pass the threat forward. But if one person dies, the monster makes its way back down the line. This brilliant gimmick enables ‘It Follows’ to assemble a series of frantic teenagers in a desperate attempt to figure out a solution to their conundrum. B, but the body count is fated to rise, and Mitchell’s evocative storytelling makes it clear that nothing can totally rescue them from the shocking physical transformations of young adulthood. Sex, which often dooms characters in horror movies, has never been such a menacing cinematic threat. —EK

‘Silent Hill’ (2006)

The original ‘Silent Hill’ video games are perhaps the scariest and most unsettling horror games of all time, nightmares in which unsuspecting heroes are plunged into a town filled with fog and nightmarish monsters that reflect their darkest secrets. That’s a lot to live up to, and the first ‘Silent Hill’ film doesn’t quite manage. But it comes surprisingly close.

Christophe Gans’ adaptation of the horror franchise follows the original film’s plot fairly closely, albeit with major alterations, including altering the gender of the protagonist. Radha Mitchell plays Rose, who takes her adopted daughter to the town of Silent Hill, only to be separated from her after a car crash. From there, Rose searches the town desperately for her and encounters a series of horrific nightmare images. And it’s truly nightmarish, with Gans displaying a great eye for visual effects and scares that remain true to the spirit of the games while still feeling new and original. Not everything about the film hits perfectly (the inclusion of the iconic villain Pyramid Head from the second game comes off as completely random), but by and large, it succeeds as an adaptation of the games and as a solid enough horror movie in and of itself. —WC

‘The Perfection’ (2019)

After getting famous for playing Type A perfectionist Marnie in ‘Girls,’ Allison Williams started bringing that same tense, controlling energy to the horror genre, in breakout hits like ‘Get Out’ and ‘M3gan.’ In between the two films that earned her an unexpected scream queen reputation, she starred in ‘The Perfection,’ one of the weirdest horror movies Netflix has ever released. Richard Shepard’s 2018 film follows Williams’ Charlotte, a talented former cellist who reconnects with her mentor Anton (Steven Weber) and romances his new student Lizzie (Logan Browning). It quickly becomes obvious that Charlotte is hiding secrets, but the film cleverly uses Williams’ reputation from past roles as a front to hide much darker twists from plain view. To say more would spoil, but the film goes to truly gruesome and unpredictable places. —WC

‘The Perfection’ Is a Gayer, Gorier, Goofier ‘TÁR’ — and Fringe Netflix at Its Finest

‘The Platform’ (2019)

‘Cube’ meets ‘The Menu’ in this chilling contained horror movie about inmates fighting over gourmet food in a massive vertical prison. Galder Gaztelu-Urrutia’s twisted allegory for the dangers of human greed and individualism boasts one of the most unique horror concepts we’ve seen in years, and finds a way to make its dystopian morality play believable with stunning production design. Come for the creepy premise, stay for some of the most unique sets you’ll find on Netflix. —CZ

‘Apostle’ (2018)

Gareth Evans proved he can direct action as well as just about anyone with ‘The Raid: Redemption,’ but with ‘Apostle,’ he showed audiences that horror is firmly within his wheelhouse as well. This stellar folk horror effort tells the story of a man (Dan Stevens), who infiltrates a religious cult on a remote island in an attempt to extract his sister from it, but what he finds is more horrifying than anything he could possibly imagine. —CZ

‘Blood Red Sky’ (2021)

One of the more fun Netflix original horror movies in recent memory, Peter Thorwarth’s ‘Blood Red Sky’ gets more mileage out of its ‘vampires on a plane’ story than it had any right to. While the German hijacking thriller may never get as gory as its wild logline suggests, it makes up for it in enough psychological drama to make for a highly entertaining viewing. While the idea sounds like pure camp, it takes itself more seriously than one might think and delivers some real scares in the process. —CZ

‘Veronica’ (2017)

‘[REC]’ filmmaker Paco Plaza caused a stir in 2017 when his horror movie ‘Veronica’ became a viral sensation on Netflix. The film is a fictional account of an alleged true story which occured in Madrid in 1991, where a young woman died suddenly a few months after using her Ouija board. In Plaza’s film, a teenage girl tries to make contact with her dead dad using a Ouija board during a solar eclipse. The girl’s friends join her, but soon all three realize that their plan to reach the dead has had horrific consequences. Social media erupted in 2017 when the film hit streaming, with many subcribers saying they had to turn off the movie midway through its runtime because it was just too terrifying. —ZS

‘Cargo’ (2019)

Martin Freeman must protect his daughter from a zombie outbreak in ‘Cargo,’ a Netflix horror offering that also tackles environmentalism and colonialism. Taking a page from ‘A Quiet Place,’ which also explored parenting under unique apocalyptic circ*mstances, ‘Cargo’ stands out from the pack by asking viewers to imagine what they might do if they knew their life was doomed but they could still offer their child hope. As the world continues to become a dark and unrecognizable place, that seed of hope just might be the key to overcoming insurmountable odds, whether it’s a zombie infestation or the chance to right the wrongs of the past in the hopes of a better future. —ZS

‘1922’ (2017)

Thomas Jane gives his best performance in ages in this poetic take on the Stephen King novella of the same name. In ‘1922,’ a guy kills his wife and feels guilty about it. That’s the gist of its premise, and while nothing groundbreaking, the story mines a degree of profundity out of the traditional supernatural thriller tropes at its core. As directed by Zak Hilditch (whose 2013 debut ‘These Final Hours’ was an expressionistic apocalyptic tale), ‘1922’ has the merits of a solid ‘Tales From the Crypt’ or ‘Masters of Horror’ episode, with a straightforward story that folds the delicate visual language of a rural Terrence Malick drama into the mold of existential horror. The result suggests what might happen if Malick took at stab at ‘The Tell-Tale Heart,’ with a mentally disturbed male protagonist straight out of King’s ‘The Shining.’ So while not the most original or surprising King story, it hits a lot of the right notes. —ZS

‘His House’ (2020)

This tender but terrifying Netflix movie tells the story of two Sudanese asylum-seekers who arrive in Britain with their demons in tow. One of the best debut films of 2020, Remi Weekes’ shrewd, tender, and often terrifying ‘His House’ begins with a clever premise — the immigrant experience as a horror movie — and expands on that idea in knowing and unexpected ways. Whereas a lesser film might have condescended to these characters and mined easy scares from the indignities of the assimilation process, Weekes’ dingy chiller implicitly recognizes that life would be difficult for a grieving Black couple who show up in England with nothing but each other and a few trinkets to their names, and it never stops using its genre as a torch to illuminate the specific forms those shadowed difficulties might take. —ZS

‘The Ritual’ (2018)

Horror favorites like Guillermo del Toro and Mike Flanagan took to social media in 2018 to champion David Bruckner’s lost-in-the-woods chiller ‘The Ritual.’ The film stars Rafe Spall, Arsher Ali, Robert James-Collier, and Sam Troughton as four friends who get together to honor the memory of one of their late pals by setting out on a hiking trip through Sarek National Park in northern Sweden. The forest, however, is hiding some dark secrets, and it doesn’t take long for the group to be put in jeopardy after they discovery something terrifying is lurking about. Del Toro ‘highly recommended’ the movie to his followers and called it ‘amazing and scary.’ Flanagan, meanwhile, said the film was ‘seriously great’ and ‘dripping with tension.’ —ZS

‘Creep’ (2014)

Just when you thought the found footage horror genre had hit its limit, Patrick Brice and Mark Duplass dropped ‘Creep’ to get fans excited about the subgenre all over again. Brice plays a down-on-his-luck filmmaker who answers an online ad to film the eccentric Josef (Duplass) for an entire day. Filming around Josef’s family cabin in Northern California, the director soon realizes that not everything is as it seems. The first part of ‘Creep’ has an oddly hypnotic quality, with Duplass starring in what feels like a performance art piece. As the day goes on, the dynamic between the two characters gradually mutates and becomes more imbalanced until Josef makes a startling revelation late at night and things become unrelentingly creepy. The revelation forces the director to flee the cabin, and that’s when ‘Creep’ goes from hypnotic chiller to scary good horror movie. —ZS

‘Under the Shadow’ (2016)

Jump scares and a frantic parent shielding her child from ominous supernatural forces: These tropes are hardly new to the horror genre, but they receive a fresh spin in ‘Under the Shadow,’ the feature-length debut of Iranian director Babak Anvari. The Tehran-set story takes place in 1988, as Iraqi bombs rain down at the height of the two countries’ war, an enticing historical backdrop for things that go bump in the night. On the face of it, the setting of ‘Under the Shadow’ may call to mind 2014’s black-and-white Iranian vampire tale ‘A Girl Walks Home Alone at Night,’ but the similarities stop with the nationality and demonic presence. Instead, ‘Under the Shadow’ bears a closer similarity to ‘The Babadook,’ which also focused on a mother protecting her kid from an an eerie, largely unseen figure who may or may not be a metaphor for psychological duress. —ZS

‘Cam’ (2018)

‘Handmaid’s Tale’ star Madeline Brewer and ‘The Love Witch’ breakout Samantha Robinson lead this eerie mind-f*ck about our online personas. Brewer plays Alice, an ambitious camgirl who wakes up one day to discover she’s been replaced on her show with an exact replica of herself. This early twist sends the movie even deeper into Lynchian territory, but ‘Cam’ would have been plenty effective without it. Director Daniel Goldhaber, resisting the urge to confine the entire film to a computer screen (à la ‘Unfriended’) creates a thoroughly credible live-stream community. Lola’s web chamber is slathered in a neon pink light that turns everything it touches into the stuff of pure creepiness. ‘Cam’ is able to reflect the strange house of mirrors that we’re all lost in whenever we log on, and it’s able to viscerally convey the panic of trying to find a way out. The ultimate solution that Alice devises is too simple to be dramatically satisfying, but it’s believable enough to scare you off social media… if only for a couple of minutes. —ZS

‘Gerald’s Game’ (2017)

Mike Flanagan directs this compelling, faithful Netflix treatment of Stephen King’s book and gets help from his committed actors Carla Gugino and Bruce Greenwood. ‘Gerald’s Game’ centers on a woman chained to a bed after a kinky sex game gone wrong who is forced to wander the dark contours of her own mind. How do you make a movie out of that? Flanagan figured it out. It takes a specific kind of filmmaker to tackle the challenges of a single-set survival movie, whether it’s Danny Boyle in a canyon (‘127 Hours’) or Rodrigo Cortés inside a coffin (‘Buried’), but the closest cinematic comparison to ‘Gerald’s Game’ is James Wan’s ‘Saw,’ which also involves terrified people handcuffed against their will. Here, modern horror maestro Flanagan tackles the tricky proposition with a keen visual sense and plenty of disorienting twists. Just like King’s book, the film adaptation of ‘Gerald’s Game’ is disturbing, grotesque, and absurd. —ZS

‘Fear Street’ (2021)

The kitschy genius of Leigh Janiak’s ‘Fear Street’ trilogy, which the writer-director has adapted for Netflix from R.L. Stine’s young adult horror books of the same name, is that each of its three chapters offers its own full-tilt throwback at the same time as they all bleed together into a wholly modern story. That story — a frothy but fanged tale of cursed outsiders, cyclical violence, power-mad white men, and virtually every other evil that seems top of mind these days — is plenty of the moment in its subject matter, but even more so in its construction. At a time when the border that separates movies and television can seem like a relic from an outdated map, the ‘Fear Street’ trilogy makes those divisions seem more irrelevant than ever. Here we have three feature-length titles, each of which belongs to a different tradition of horror cinema. —ZS

‘I Am the Pretty Thing That Lives in the House’ (2015)

Osgood Perkins broke out with his 2015 directorial debut ‘The Blackcoat’s Daughter’ and most recently earned strong reviews with this year’s ‘Gretel and Hansel,’ but wedged in between those efforts is his sturdy Netflix original ‘I Am the Pretty Thing That Lives in the House.’ Ruth Wilson gives a commanding performance as a live-in nurse who comes to believe her elderly employer’s house is haunted. Perkins doesn’t waste a second in this 87-minute supernatural chiller that is further proof the writer-director is one of the most overlooked directors in the horror genre. —ZS

‘Guillermo del Toro’s Cabinet of Curiosities: The Autopsy’ (2022)

‘The Autopsy’ follows a simple-enough premise: A doctor is sent in to figure out what actually killed the victims of mining explosion. Without being bogged down by all the moving pieces of an hourlong plot, this becomes a showcase for the kind of precision you’d expect from a story told through precise incisions. Prior makes the most out of the tiniest details, be it Luke Robert’s menacing smile, the squelching sound of jostling organs, or the foot pedal controlling Dr. Winters’ (F. Murray Abraham) reel-to-reel recorder. And they’re all presented with the matter-of-fact confidence its protagonist has, even when facing his own death. Of all these stories, this is the one that perfectly harnesses that feeling of seeing something just slightly off, like looking into a stranger’s eyes and seeing them glow a little too brightly. It’s an episode built on tiny, controlled movements, setting the stage for a showdown for the fate of humanity that takes place in the cosmic battlefield of the mind. —SG

‘Guillermo del Toro’s Cabinet of Curiosities: Graveyard Rats’ (2022)

Adapted from the 1936 debut work of author Henry Kuttner, the second in the ‘Cabinet of Curiosities’ follows another man deep in debt. Having already made peace with betraying his grieving clients and stealing from their dead loved ones, an undertaker faces off with a pack of rodents he claims is stealing his stolen treasure straight off the corpses still underground. There’s a straightforward-enough message to Vincenzo Natali’s film and that’s ‘don’t mess with the dead.’ Rather than picking apart the meaning in this perhaps no longer necessary cautionary tale (Are grave robbers working these days? Do people even get buried with jewels anymore?), the fun in this installment can be found by watching the writer-director and star David Hewlett surrender to the sinfully silly pitter-patter of rat-infested terror. From gross-out bouts of body horror (Rat! In! Mouth!) to a staggering underground environment reveal, ‘Graveyard Rats’ takes the simple concept of its title to spooky extremes for an almost faultless one-off scare. —AF

‘Guillermo del Toro’s Cabinet of Curiosities: The Viewing’ (2022)

Most of ‘Cabinet of Curiosities’ is following characters who have fatally bad ideas. One of the reasons that ‘The Viewing’ works so well is that, for a decent chunk of its runtime, the characters invited to a private exhibition at the home of an eccentric gazillionaire believe they’re going to make it out of the experience with a rad story and nothing else to really worry about. Cosmatos and Stewart-Ahn whip up a central group of artists and scientists, gathered to take in a once-in-a-lifetime evening of ultra-rare booze, co*ke, and other…indulgences. Before things descend into chaos — when a room in a Cosmatos joint gets drenched in blood-red light, it’s only a matter of time — ‘The Viewing’ is extremely careful about where and when to start dialing up the uneasiness. It’s not just the gory consequences or the way Peter Weller delivers the phrase ‘sh*t your mind’ or what emerges from the Obelisk Room (or the greatest Michael McDonald smash cut in history). As with all great horror story transformations, it’s the sense that the world as it exists in this shiny, alternate version of September 1979 will never, ever be the same. —SG

Read IndieWire’s complete guide to “Guillermo del Toro’s Cabinet of Curiosities.”