A horror film can be enjoyed at any moment. In the old days, people would rent scary movies from Blockbuster or not utilize Treatster to figure out which households handed out the finest candy on Halloween.
Thanks to Netflix’s scream streaming content, you no longer have to leave your couch to get a good scare.
With this in mind, we’ve compiled a list of Netflix’s best horror offerings, a constantly growing list that includes both classics and contemporary offerings. Modern adaptations of Stephen King stories like Gerald’s Game and In the Tall Grass, as well as popular horror franchises like The Conjuring and Fear Street, can be found in this section.
Regardless of your tastes, Netflix has something to offer you right now, and there will be more in the future. “Beware, the viewer – you’re about to be scared to death!”
Top 10 Horror Movies on Netflix
Here is a list of the top 10 horror movies available to stream on Netflix.
1. The Exorcist (1973)
There isn’t a single film on this list that is more frightening, more impactful, or just plain scarier than The Exorcist, and it’s a fair bet. There is a palpable sense of foreboding in the air, even before the possession sequences have even begun. For an eighth of a second, a segment like the “devil face” appears on the screen, making you feel like you can never relax.
It burrows deep into your flesh, where it will remain indefinitely. Throughout the movie, it seems as if there’s no chance for the priest (Jason Miller), who is not particularly strong in his own religion, to save the possessed young lady, and you’re left wondering whether there ever was (Linda Blair).
In fact, his last “win” is a hollow one, as author William Peter Blatty would go on to explore in The Exorcist III. Even if you’ve watched it many times before, it’s still a pain to watch. By any standard, The Exorcist is a fantastic film.
Also Read: Top 10 Best Horror Films You Must See!
2. Choose or Die (2022)
An ancient computer game with a $100,000 prize for anyone who can defeat it piqued Kayla’s interest and her family’s need for money so she decided to give it a go. Aside from being a straightforward “choose your own adventure/horror campaign,” though, the game has a lot more going on.
As a result, Kayla is forced to make life-altering decisions that have far-reaching consequences. Kayla and her companion Isaac (Asa Butterfield) are trapped in the game and must discover a method to terminate it permanently. After all, it’s just code.
After learning about the evil forces that helped create the game, they realize that winning and surviving may not be as simple as they had previously thought it would be. Both familiar and new at once; it pays tribute to vintage video games, but also delivers an original story that hasn’t been done over and over again in other games.
As opposed to detracting from the film’s focus on the terror, the 84-minute running duration works in the film’s favor. What a terrific movie for horror fans and newbies alike: Choose or Die is a blast to see!
3. Raw (2016)
If you have a warped sense of humor, you can tell your pals that Julia Ducournau’s Raw is a “coming of age movie” in order to get them to watch it.
Even nevertheless, Justine (Garance Marillier), the film’s protagonist, grows up during its running duration; she parties, breaks free from her shell, and discovers who she truly is as a young woman on the cusp of adulthood, among other things.
They may not be aware, however, that they have spent their entire lives repressing a natural, near-insatiable hunger for raw flesh that they have suppressed unconsciously. As soon as you hear the name of the film, you think, “Oh, that’s it!” You’ve got it right, my friend! That’s right! Ducournau’s sarcasm should be allowed.
An explicit acknowledgment of Justine’s dismal maturation is what Raw is all about, not merely a nod or wink. Even when the film is at its most obscene, which it often is, Ducournau’s most obscene descriptions tend to be the ones we can’t see: In Raw, the horrors are governed as much by the fear of feminine sexuality, family legacies, popularity politics, and doubt of self.
No apologies, no excuses, and a lot more to digest than the effects.
4. Ouija: Origin of Evil (2016)
When Mike Flanagan took on a prequel to a critically panned movie about an evil ouija board and delivered one of the scariest movies of the last decade, the idea of “holy crap, this guy can do anything” was set in stone.
For a fee, Alice Zander and her daughters, Lina and Doris Zander (Annalise Basso and Lulu Wilson) give seances in the wake of Alice’s husband, who died in the early 1970s, being a phony psychic. Doris, the youngest, introduces an ouija board, but the cursed device makes things all too true as it not only transfers a malevolent spirit into the girl’s body but also reveals the deep-seated evil ingrained in the Zander’s house.
No reason exists for Ouija: Origin of Evil to be good at all, thus the fact that it is this scary and effective comes as a complete surprise to me. We’re also talking Flanagan here, which means there’s a powerful dramatic heart-pounding behind all those bumps in the night.
5. His House (2020)
Withholding on horror is one of the worst things you can do to the genre. There are many methods to frighten moviegoers, but the very least a horror film can do is scare them instead of making them laugh. The His House of Remi Weekes isn’t a slouch.
After a tragic beginning, the film quickly out-grubs The Grudge by leaving ghosts strewn about the floor and up and down the stairs for the heroes to stumble over.
An immigrant’s story, like Jonas Carpignano’s Mediterranean, is a companion piece to modern indie cinema, which depicts the risks faced by immigrants on the road and at their destinations with ruthless neorealist precision.
For Weekes, Bol and Rial are more than just characters; they are persons with a past, a motivation for leaving, and a final act. Weeks, on the other hand, is just as dedicated to making his audience jump out of their skins.
6. The Haunting of Hill House (2018)
The Haunting of Hill House’s visual style makes it a successful adaptation of Shirley Jackson’s famous novel as well as a horror television show. There are no ghosts, ghouls, or things that go bump in the night in this film.
While the initial film adaptation’s decisions are revisited, the series goes back in order to create a sense of discomfort and inconsistency. “Inconsistency,” on the other hand, maybe the wrong term. When you’re viewing it, you’re constantly on guard against being deceived, but the film’s scenes nonetheless manage to sway you.
The Haunting of Hill House does a terrific job of making us squirm rather than leap by embracing the squirm and the time it takes to persuade us to squirm rather than jump.
7. The Babysitter (2017)
There is an overt desire for The Babysitter to be adored as an “’80s Slasher Homage,” yet the film is also effective enough to win a fair amount of that approbation. In the vein of Fright Night and Night of the Demons, it is at its best when it lets its hyper-charismatic young protagonists run wild rather than slavishly copying a former decade.
There are some great performances in The Babysitter—especially from Judah Lewis, Robbie Amell, and Samara Weaving—but the film is also slick, gruesome, and obscene to the point of being unwatchable, which is a shame because the film is so good.
Fast-paced 85 minutes!, often humorous, and perhaps Netflix’s best-ever offering of popcorn horror entertainment.
8. It Follows (2015)
There is an Old Detroit specter that looms over It Follows throughout the film. If you’ve never gone, you won’t know the stale, grey nostalgia creeping into every area of David Robert Mitchell‘s scary film. You can feel Michigan in the Southeast when you’re there.
Insistent anachronisms abound, as do the soundtrack and color scheme, which are both muted but wonderfully sumptuous. Mitchell is an auteur who appears to have been born in the squalor of Metro Detroit.
While Mitchell could have achieved the same effect with fewer stylistic flourishes and circular pans, he is more concerned with giving a single image a morbid breath of life, as if Death himself were to walk up to you out of nowhere, ready to steal your breath with aplomb.
This is a film that will leave you gasping for air. While Mitchell’s central conceit—transmitting a haunting through sexual contact—seems to hide conservative sexual politics under standard horror movie tropes, the film claims to be a progressive genre piece while doing nothing to advance our conceptions of a traditional slasher film.
The cold conclusion of sexual intercourse is that you share a certain degree of your body with everyone with whom your partner has shared the same. Mitchell’s intention is not based on any principles.
What lifts It Follows beyond the world of disguised morality plays is the genuine regard and empathy that he shows for the kinds of characters that in any other horror movie would be little more than visceral fodder for a cruel spirit.
Similar to Mitchell, who relies on the games our minds play when we forget to check our peripherals to provide the film’s actual horror, the director trusts that the slightly off-kilter ordinary will provide the film’s true terror. When you watch It Follows, you’re not just watching a horror picture, you’re watching a film about the worry that lurks just beyond your conscious awareness, telling you that your time is short and that you’ll never be safe.
9. Midnight Mass (2021)
Every person on Crockett Island, Midnight Mass’ Crockett Island, feels like a victim of fate. As a result of the oil spill, the island’s indigenous fishing industry has been decimated. Their houses are splintered and peeling as a result of their disregard for the elements of the ocean.
Most residents have gone due to a lack of opportunities on the island, leaving only a small number behind. They can only reach the mainland via two types of ferries. There is little reason for optimism, and a massive storm is brewing.
When it comes to Midnight Mass, Netflix’s latest collaboration with The Haunting creator Mike Flanagan, spoilers are inevitable, but what can be stated is that even with its occasional forays into the uncanny, this seven-episode series is a drama that burrows inwardly rather than outwards.
Throughout Midnight Mass, Crockett’s claustrophobia and the interior suffering of his characters are at the forefront, with addiction, secret histories, and questions about forgiveness and belief all taking center stage. Initially, it looks like a series that has mined Catholic guilt for profit.
One aspect of the book deals with the psychology of groups, the importance of faith in the face of tragedy, and the ethics of leadership when dealing with people who are so vulnerable.
People who don’t know what they’re missing are “blessed,” says Jesus. Anyone can attend Midnight Mass, whether they’re a skeptic or a believer.
10. Creep (2014)
When used well, found footage is often maligned. In the Creep films, what about? I can confirm that this is indeed the case. As a filmmaker and co-writer, Patrick Bice stars in the original film as a videographer hired by a bizarre man named Josef, who claims he has a brain tumor and wants to record an emotional video diary for his pregnant kid before his death.
Throughout the film, Duplass does an amazing job of making you care about the character while also making you wonder what he has planned for the future. Despite the fact that you’ll already know the answer by the end of the film, Creep 2 manages to be just as effective as its predecessor in 2017.
Akhavan plays a fresh videographer in danger, and her relationship with Duplass’ Josef is more interesting and unpredictable in Bice’s follow-up. Both films are thrilling, suspenseful thrillers that make excellent use of the discovered footage method.
These are the top 10 horror movies that you should stream right now.