We round up the scariest, the silliest and all-round best horror movies available to stream on Netflix UK.
REC director Paco Plaza conjures up fresh terror in familiar tropes with this fast, slick ouija horror.
A woman (Carla Gugino) accidentally kills her husband during a kinky game that leaves her handcuffed to the bed. Stephen King’s unfilmable novel is filmed with panache, confidence and gripping intensity by Oculus and Hush director Mike Flanagan. Also by Mike Flanagan on Netflix: Before I Wake
“I’m sorry. I didn’t mean to scare you,” says Josef, after leaping out at Aaron in the middle of the woods. It’s the kind of prank that friends often play, an act that comfortably crosses the boundary between silly and sinister. But Aaron and Josef are not friends. In fact, they don’t even know each other. That’s the central conceit behind Creep, a no-budget horror movie that delivers more scares than films with 10 times more money. Essentially a two-hander, it follows Aaron (director Patrick Brice), a videographer who responds to a Craigslist ad to film a guy for a single day. Subtle and smart, Creep repeatedly crosses the boundary between silly and sinister. It means to scare you. And it’s not sorry.
Imagine someone walking towards you. Not very scary, is it? Wait until you see It Follows. David Robert Mitchell’s horror thriller follows Jay (Maika Monroe), who finds herself on a date gone terrifyingly wrong, when she wakes up post-sex strapped to a chair and is told that something is going to try and kill her. Why? We don’t know. Who? We don’t know that either. What we do know is that this entity will continue following her until it catches her and shuffles her off her mortal coil. It’s clever. It’s unconventional. And it’s very, very creepy.
I Know What You Did Last Summer
Four friends who hit a man with a car one night find themselves stalked by a sinister figure one year later. As important as Scream to the modern genre, Kevin Williamson and Jim Gillespie’s slasher is far from inventive or self-aware, but established the template for a new generation of 90s horrors.
Under the Shadow
One of 2016’s best horror movies, this superb debut for Iranian-born director Babak Anvari about a mother and daughter fighting to cope with the fallout of the Iran-Iraq war is an instant modern classic.
The Cabin in the Woods
Drew Goddard’s witty horror flick is a superbly self-aware comedy that is better the less you know about it.
The Neon Demon
Beguiling and intoxicating, Nicolas Winding Refn’s dark, disturbing satire of the modelling world is a masterpiece of mood.
Jim Mickle’s take on vampires is suitably idiosyncratic, creating a post-apocalyptic story that’s as much about character as it is chomping people’s necks off. Quiet, tense and made on an impressively low budget, Stake Land is a classy bit of indie horror.
Aidan Gillen and Eva Birthistle are excellent in this Hammer horror about a grieving couple who take part in a ritual to bring their dead nine-year-old daughter back to life.
This stunning South Korean horror film sees a policeman and a shaman team up to solve a mysterious sickness spreading through a village. Furiously weird and unsettlingly unpredictable. Read our full review.
Don’t Knock Twice
Hot on the heels of indie sci-fi thriller The Machine, director Caradog James returns with horror movie Don’t Knock Twice – and when it comes to crafting high-quality genre flicks on a low budget, he’s definitely two for two. Unafraid to back up scares with sentiment, this indie horror starring Lucy Boynton and Katee Sackhoff is a promising calling card for the up-and-coming British director.
Hot on the heels of Oculus, Mike Flanagan’s home invasion thriller sees a deaf writer in the woods try to protect herself from a masked killer. The fight for survival is gripping, Kate Siegel’s performance as a deaf and mute woman overcoming physical limitations is stirring, and the inventive sound design is hugely effective.
Jesse Eisenberg and Woody Harrelson are a comedy double act to die for in Ruben Fleischer’s horror comedy. Travelling across zombified America in search of safety – and a Twinkie – this is a warped, witty ride that unfolds at breakneck speed.
Wallace & Gromit: The Curse of the Were-Rabbit
This animated outing from Aardman takes Wallace and Gromit from the small screen to the big without spilling a single bit of plasticine. Now running their own anti-pest business (anti-pesto), the duo find themselves facing a strange new beast, who is devouring the village’s carrots. With delightfully hammy turns from Ralph Fiennes and Helena Bonham Carter, not to mention an endless array of genre nods, word play and slapstick, this is that rare thing: a perfect family film.
Before I Wake
Mike Flanagan’s wonderfully involving and melancholic horror is a cousin to JA Bayona’s heartbreaking A Monster Calls or Hereditary, which has similar themes of children and parents trying to understand each other’s feelings when dealing with an overwhelming sense of loss.
Natalie Portman leads Alex Garland’s sci-fi horror, which sees a group of scientists and soldiers enter Area X, – a sinister and mysterious phenomenon that is expanding across the American coastline and contains a world of mutated landscape and creatures. The result is a study of humanity’s fear of mortality and change, served up with dizzying, shimmering visuals.
Never trust a goat. That could be the moral of the story in The Witch, which sees a Christian family head into the forest to live a more devout life in 17th century New England. Director Robert Eggers mounts an atmosphere of pure horror through chilling visuals, a haunting score and a palpable sense of unease. Across 90 slow yet beautiful, minutes, The Witch slips under your skin and leaves you squirming in discomfort. A genuinely creepy horror.
Rebecca Hall is on excellent form as 1920s ghostbuster in this classic haunted house tale that packs emotion and chills aplenty.
When Cole stays up past his bedtime, he discovers his babysitter is part of a Satanic cult that will stop at nothing to keep him quiet. This light, fun horror-comedy is McG’s best film in over a decade.
The Autopsy of Jane Doe
This low-budget chiller from André Øvredal, director of Trollhunter, stars Brian Cox and Emile Hirsch and is genuinely terrifying stuff.