20 Horror Movies to Check Out This Halloween
With Halloween right around the corner, Film Updates contributors have banded together in order to provide you with a list of films to check out on the 30th! From The Haunting of Hill House creator Mike Flanagan’s debut feature film to several cult classics including Karyn Kusama’s Jennifer’s Body, here are some horror and thriller films we recommend you check out ASAP:
Absentia:
Mike Flanagan has made quite the name for himself in the horror genre, particularly with 2018’s The Haunting of Hill House, an immaculate piece of filmmaking that did an exceptional job at exploring the horror in humanity. His very first film, 2011’s Absentia is a fantastic precursor to his hit Netflix series in that it carries the same empathetic DNA that made Hill House so phenomenal. Made on a shoestring budget, Absentia is a bit rough around the edges but an engaging, intricate plot, effective scares and impeccable performances from Katie Parker and Courtney Bell as two sisters struggling after the disappearance of a family member do more than elevate it to must-see status. – Ahmad Sindi
The Bay:
A found footage horror film that debuted a few years too late to properly capitalize on a trend revitalized by the Paranormal Activity film series, The Bay never managed to find an audience when it was released in 2012, grossing a measly $1.6 million against a $2.5 million budget at the international box office. It was better received by critics, who praised the film for its “gruesome” and “atmospheric” scares, and its documentary-style format but it still largely flew under the radar in an era dominated by more stylized supernatural-based films. Thanks to an engaging lead performance from Kether Donohue and a realistic, more adult tone, The Bay more than deserves a spot on your watchlist this October, especially considering how relevant some of its themes are in today’s world. Viewers will also be surprised to note that the film was directed by Academy Award winner Barry Levinson, who is more widely known for his more dramatic work including 1988’s Rain Man and 1991’s Bugsy. – AS
The Blackcoat’s Daughter:
After its mostly well received debut at the 2015 Toronto International Film Festival, the directorial debut of Oz Perkins, son of horror legend Anthony Perkins, The Blackcoat’s Daughter had a messy roll-out hindered by sudden release date changes and a strange deal with DirecTV that saw it debut on the broadcasting company’s VOD platform months before its limited theatrical release from A24 in March 2017. Thanks to that, the film never managed to find a large audience, certainly not on the same level of fellow A24 horror films such as Hereditary and The Witch, but it has developed somewhat of a cult following thanks to its bone-chilling atmosphere and inventive twist. The film also boasts career-best performances from Emma Roberts and Kiernan Shipka, who later went on to star in The Chilling Adventures of Sabrina, and is worth watching for their devastating performances alone so if you haven’t seen it yet, bump it to the top of your watch list and revel in the film’s agonizingly tense slow-burn and its haunting score courtesy of Perkins’ brother, Elvis Perkins. – AS
The Boy:
This year saw the release of Brahms: The Boy 2, a blatant cash grab and horrendous misfire that undoes everything its predecessor, 2016’s The Boy, did throughout its runtime. Despite that, the first film more than holds up today thanks to a subversive and inventive twist ending, as well as a formidable lead performance from Lauren Cohan, who elevates the material and sells what very well could have been a schlocky B-horror movie in another actress’ hands. The Boy is not a perfect film but thanks to its atmospheric tone and memorable score courtesy of Bear McCreary, it is still more than worth a watch this Halloween season. – AS
The Cell:
Tarsem Singh is mostly known for his 2006 cult classic, The Fall, which is still held up today as a masterpiece of surreal filmmaking. His debut feature film, 2000’s The Cell, is just as visually gorgeous and may even be better than Singh’s follow-up film thanks to its inventive screenplay, which offers more thrills and substance than The Fall. Led by Jennifer Lopez in one of her earliest roles and Vincent D’Onofrio, who manages to establish a commanding, intimidating presence that casts a shadow over the rest of the film, The Cell plays off like a horrifying precursor to Christopher Nolan’s Inception, with Lopez’s child psychologist Dr. Catherine Dean traveling through a serial killer’s dually gorgeous and terrifying “dreamscape” in order to locate his latest victim before it is too late. It is an unforgettable experience that unfortunately has not yet managed to find the cult following it deserves, and a prime choice of film to check out on Halloween. – AS
Climax:
Gaspar Noé is famous for his outrageous, often self-indulgent style. His calling cards include non-linear storytelling and nightmare infused sex scenes. Climax includes perhaps some of his most masterful work. Set in an abandoned school, the film follows a dance troupe as they practice and party the night away. As the evening goes on, the dancers realize that their sangria has been drugged and what began as a celebration quickly descends into chaos. Infused with flashing lights, compelling and frankly disturbing choreography, and a quiet intensity, Climax is a perfect departure from a traditional horror movie. Noé and a cast of talented actors worked to create a disturbing and almost entirely improvised story. This film, while certainly not for the faint of heart, is built off of the organic energy of the cast and crew and is as beautiful to look at as it is jarring to watch. – Emi Grant
Dark Skies:
Blumhouse have become a staple in the horror industry thanks to a long list of films that have become fixtures for fans all over the world, including Jordan Peele’s Get Out and James Wan’s Insidious series. One of their more lowkey movies that have largely went under the radar, Scott Stewart’s Dark Skies is a more than worthy addition to their line-up and an effective, suspenseful horror film in its own right. Led by Keri Russell, Josh Hamilton and a scene-stealing J. K. Simmons, Dark Skies takes a familiar sci-fi trope (that of alien abductions) and turns it into both a traffic, searing family drama and a terrifying horror film that will leave viewers on the edge of their seats. Met with middling reviews and lackluster box office returns upon its release, Dark Skies deserves to be reassessed today and to be held up as one of Blumhouse’s crown jewels among its vast collection of horror films. – AS
Gerald’s Game:
Perhaps one of the lesser-known Stephen King adaptations, Gerald’s Game is a nightmare-ish trip that explores psychological terror and residual trauma. Jessie and her older husband Gerald travel to their serene lake house for a weekend alone. Following a kinky sexual encounter gone wrong, Gerald is dead on the ground and Jessie is stuck handcuffed and alone on the bed. Jessie is left alone with her thoughts to escape her predicament. Isolated and alone, Jessie’s mind starts to wander from her relationship to her troubled upbringing to her current situation. The film is equally stressful and scary and at points departs to a completely otherworldly atmosphere. The audience is taken on a journey through time and space, even as Jessie is tied down to her spot on the bed. – EG
Jennifer’s Body:
Over the past couple of years, articles calling for the redemption of Diablo Cody’s subversive, 2009 box office bomb, Jennifer’s Body, have appeared in a myriad of major publications, including a recent spread in the New York Times. You have probably stumbled across a fair amount of viral tweets on the subject, or maybe a YouTube video essay. The proponents of the film often speak on its status as a queer cult film, or the satirical rhythm of Cody’s writing, but there is no way to discuss Jennifer’s Body without examining its star, Megan Fox. One of the most objectified and prevalent sex symbols of the new millennium, Fox’s celebrity was in large part due to her work with Michael Bay, a blockbuster director notorious for his love of pyrotechnics. The history of her mistreatment at the hands of the industry is extensive, disturbing, and well documented in articles from The Cut and Vanity Fair. Fox’s public image made her work in Jennifer’s Body that much more poignant. In 2009, audiences rejected this female-crafted revenge satire, but, in 2020, it is more relevant than ever. – Julian Stoller
The Lodge:
Boasting a talented cast – including horror veteran Jaeden Martell (star of 2017’s It) – The Lodge tells a haunting if not familiar tale about a traumatized family snowed in at their remote holiday cabin. After the death of their mother, two grief-ridden children are left in the care of their step-mother, Grace. As the days creep on, details of Grace’s troubled past make a disturbing reappearance. The film’s understated and chilly storytelling set the perfect tone for a pre-Halloween movie night. In under two hours, The Lodge delivers mystery and its fair share of scares. The film brings classic elements of horror––from the creepy cabin to a dark and hidden secret––without being too obvious or over-the-top. A blend of chills and jump scares, this film is great for a group or anyone looking to curl up to a good movie. – EG
P2:
Often lost in the horror conversation is Franck Khalfoun’s 2007 cat-and-mouse thriller P2, now streaming on Peacock. The premise is alluring in its simplicity: workaholic Angela (Rachel Nichols) finds herself literally trapped in the office on Christmas Eve after the building’s parking garage is locked. Her night goes from nuisance to nightmare when the attendant on duty, Thomas (Wes Bentley), makes it clear he doesn’t intend to let her leave. Cratered by lukewarm reception and an ill-advised release window, P2 strikes a contemporary viewer as a film both firmly entrenched in its time, and well ahead of it. Despite the high concept’s promise of mind games, there are a few excessively splattery sequences, a prerequisite for horror released at the peak of Saw’s reign. Even so, P2 gives voice to the terror of workplace harassment ten years before the Me Too movement, and molds an arresting villain out of the strain of incel, faux-nice guy persistently infesting social media. Swathed in hazy holiday lights and novelty music, P2 makes for an optimal film to unite those in the October and December camps, providing carnage and cheer in equal measure. – Stanley Swindling
A Tale of Two Sisters:
An absolute wild ride from beginning to end, A Tale of Two Sisters is the perfect puzzle movie for anyone who loves a good scare and an even better mystery. After a young girl is finally released from a mental institution, she returns home to her sister and her father and step-mother. Slowly, the world around her begins to unravel as she tries to make sense of the sinister secrets of her stepmother and the many spirits who haunt the family home. A Tale of Two Sisters has inspired a generation of mystery/horror hybrid films since its 2003 release. With each and every scene, a myriad of new details and secrets are revealed. Just when you think you’ve unraveled the mystery, the film takes yet another turn. – EG
Unfriended: Dark Web:
Released back in 2014, Levan Gabriadze’s computer screen film Unfriended was a nifty little micro-thriller that left most of its viewers cold rather than terrified thanks to a ludicrous twist and one-note characters. Its follow-up film, Stephen Susco’s Unfriended: Dark Web, manages to fix most of its predecessor’s mistakes, focusing on likeable lead characters and establishing a genuinely scary atmosphere that is firmly rooted in today’s technological landscape. While genuinely regarded as a solid horror film upon its release in 2018, Unfriended: Dark Web had a cold reception at the global box office, grossing a mere $16.1 million compared to Unfriended’s $64 million. More suited for a home viewing rather than a theatrical one, Unfriended: Dark Web deserves to be rediscovered by horror fans, especially in a climate that will have most of us staying home this Halloween. Viewers who decide to check it out will be genuinely surprised at its dark tone and thrilling twists. – AS
Urban Legend:
Urban Legend might not be the most typical nineties slasher trope, and the killer might not have a catchy nickname like Ghostface, but it really does get the job done. The plot revolves around a college campus which is quickly plagued by a fearful serial killer who murders students in ways that correspond with various urban legends. It is a part of the post-Scream era which is so undervalued with its charismatic cast, effective kills and a fantastic build up which makes for an immensely crazy finale. With lines like “a killer based on urban legends, that’s a bit of a stretch”, it’s evident that Urban Legend is not afraid to poke fun at itself, as it remains enjoyable with every watch and manages to stand out from the crowd. – Charlotte
Bone Tomahawk:
The 21st century pretty much left behind the sweeping vistas and noble gunslingers of the sun-drenched classic Westerns and replaced them with darker, starker depictions of what life in the Wild West might have been like. A place where living is hard and dying is easy, Bone Tomahawk presents the West as a brutal land filled with brutal men, where violent ignorance tends to win out over enlightened compassion. It’s a grim and gory bit of genre-blending which offers a totally different take on the cowboy tale – the notion that the West, in truth, was a horror story. – Ross McIndoe
The Guest:
Apparently cooked up after a double bill of Halloween and The Terminator, Adam Wingard’s film wears its influences proudly. A mysterious figure arrives in a small town right before Halloween and the spooky season quickly turns into a full-on bloodbath as the locals find an impassive killing machine stalking after them. Dan Stevens is spectacular in the role of clean-cut American boy/cold-blooded psycho and the film is dripping with remixed 80s style. – RM
You’re Next:
A group of people sit around the dinner table, discussing how predictable and crass modern movies have become, only to have their conversation violently interrupted by a group of masked killers. One of two films on this list from Adam Wingard and Simon Barrett, You’re Next is a Scream-style meta-horror about a group of people whose self-aware jibes about horror movie clichés won’t save them from becoming one. Pairing black humour with jolting violence, You’re Next finds just the right balance between sly commentary and sick thrills. – RM
The Voices:
The Voices arrived in 2014, a couple of years before Deadpool would finally tap into Ryan Reynolds’ full potential as a quick-talking, pretty boy weirdo. Buried amongst all the big money efforts to make him ‘happen’ (Green Lantern, RIPD etc) is a low budget film about a cheerful schizophrenic who hallucinates that his pets are talking to him. After taking some poor advice from a couple of his furry friends, he winds up with a severed head sitting in his refrigerator. Black as night and weird as hell, The Voices was totally passed over upon its original release but has all the makings of a cult-classic, especially for an audience that’s now more attuned to the idea of Reynolds as a psychotic charmer. – RM
Crimson Peak:
From Pan’s Labyrinth and The Shape of Water director Guillermo del Toro, Crimson Peak is a wonderful ode to traditional Gothic film. There’s a haunted house, chilling ghosts, mystery and romance. The cast performances are absolutely fantastic; the chemistry between Mia Wasikowska and Tom Hiddleston is perfect, and Jessica Chastain channels Judith Anderson, playing a character quite similar to Mrs. Danvers in Alfred Hitchcock‘s Rebecca. This film provides not just scares and a spooky atmosphere, but also a genuinely good story. The production design is so beautiful that you won’t soon forget it. – Lauren Miles
Little Monsters:
It’s a simple concept to make a zombie movie: zombies have been used for decades, the ultimate horror of the non-human human acting as a stand-in for anything a filmmaker could dream. Abe Forsythe’s Little Monsters is labelled as a horror movie with its violence and zombies, but it’s also an incredibly cute and sweet film focusing on the kindergarten teacher Miss Caroline (Lupita Nyong’o) and the uncle-turned-field-trip-chaperone Dave (Alexander England) who’s only on this trip because he’s attracted to her. Rather than a straight-up scary romp, the film instead prioritizes compassion and care, learning to leave no one behind and form community. Nyong’o gives an incredibly sweet and warm performance, embodying kindness, but don’t get it twisted: she doesn’t hesitate to kill zombies to save her students. Little Monsters combines the lighter elements of our favorite Halloween movies as kids with the gore and excitement of adult-oriented horror; it even takes Disneyfied actor Josh Gad and flips his own persona on its head, the epitome of the film’s own juxtaposition. – Megan Robinson