Top horror movies on Netflix UK (2017)
Ivan Radford | On 13, Jan 2017
See our list of the most underrated horror movies on Netflix UK.
We round up the scariest, the silliest and all-round best horror movies available to stream on Netflix UK just in time for Halloween.
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.
S. Craig Zaher’s violent treat follows a sheriff (Kurt Russell), his deputy (Richard Jenkins), a gunslinger (Matthew Fox), and a cowboy (Patrick Wilson) embark on a mission in the Old West to rescue three people from a savage group of cave dwellers.
Anton Yelchin stars in this gripping, brutal horror from director Jeremy Saulnier about a band who end up on the wrong side of a green room door in a club run by neo-Nazis.
Let the Right One In
Eli (Leandersson) is a 12-year-old who’s been 12 for a very long time. Living with an older man, Hakan (Ragnar), she lives off the drippings of dead people that he collects in a bottle. Not your first choice for a childhood friend, perhaps, but that doesn’t stop Oskar (Hedebrant). The affection appears to be mutual and an eerie bond develops, the unspoken bloodlust a disturbing, chilling undercurrent; this is less a romance and more a dark, melancholic piece of tender poetry. Tomas Alfredson’s innocent love story shot through with absolute horror is a sinister, sweet work of art.
Under the Skin
Scarlett Johansson plays an alien sent to Earth to drive around Glasgow in a van, with which she picks up a range of unsuspecting men to do… well, who knows? Jonathan Glazer’s mysterious sci-fi adopts a curiously alien perspective on the human race, creating a haunting, moving and stylish masterpiece. A film that sticks with you, to your insides, for an inhuman amount of time.
“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.
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.
The Woman in Black
Black Mirror and Eden Lake director James Watkins helms this chilling adaptation of the iconic play, with Daniel Radcliffe playing a young lawyer called to a remote home to investigate its late owner. With Radcliffe’s charismatic lead supported by an incredibly atmospheric set, the result is a haunted house ride full of cheap jumps, pulled off with old-school flair.
A group of students tracking bears stumble across something far bigger and older in the Norwegian outback: trolls. Luckily, they bump into a man whose job is to slay them for the government. Darkly amusing and witty, this unique Nordic horror is a little gem.
Tired of haunted house movies? Try a haunted son movie. James Wan’s horror isn’t any more original than all the other possessed-children genre flicks, but there are some solid scares to be found here.
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.
A group of Irish villagers hole up in a pub as aliens attack them – only to discover they’re allergic to alcohol. The solution? Get wasted. Sober cop Richard Coyle leads a laugh-out-loud cast of warped Father Ted-a-likes in Jon Wright’s sci-fi-horror-comedy, a film that is both extremely depraved and utterly charming. (Read our Grabbers review here.)
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.
It’s Arnie vs alien in John “Die Hard” McTiernan’s seminal sci-fi flick, which places the emphasis on survival horror more than action.
Cockneys vs Zombies
James Moran’s mash-up of undead horror and cockneys is simultaneously terrible and fun, as blood is splattered and old people kick ass with a knowing smirk. A set piece that sees Richard Briers trying to out-shuffle a bunch of flesh-eating corpses with a zimmer frame is inspired.
Ethan Hawke star in this offbeat horror that sees vampires rule in a dystopian future, where blood is in short supply. While Sam Neill hams it up as the lead vamp in a suit, Willem Dafoe presents a way to turn back into humans – while hunting down fanged villains with a crossbow. Sometimes, you need a little trash with your terror.
Let Me In
Owen (Kodi Smit-McPhee) is 12 years old. So is Abby (Chloe Moretz), his new neighbour. She’s been 12 for a long time. She doesn’t get cold. She doesn’t appear in the daytime. And she has an older man (Richard Jenkins) who goes out at night and butchers teens for blood. When the two young souls meet on an icy climbing frame in Owen’s apartment complex, their relationship rapidly evolves.
Letting each other into their isolated worlds, it’s an unsettling bond to witness up close. And Matt Reeves makes sure we do: his camera often stays at Owen’s eye level, to the point where we feel as detached from his faceless mum as he does. It’s a neat touch, teasing out the emotions from his naturally awkward cast. Along with the decision to frame events from the POV of a police detective, it helps to make his CG-heavy version of the Swedish story unique enough to overcome the usual remake backlash.