Top 8 Horror Movies on Netflix

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The Top 8 Horror Movies on Netflix

When it comes to the status of horror movies on Netflix, one thing is for sure. As competition between the various content providers and their respective streaming platforms intensifies, it becomes increasingly difficult to maintain good content. Of course, some of Netflix’s horror offerings are better than others, and while you could spend years scouring the entire catalog to find the most valuable gems, a more efficient option would be to have someone else do the work for you. Halloween may be over, but horror movies have no limits on fun. As one of the most prolific and profitable sub-genres of cinema, audiences are always in the mood for spooky and scary movies.

Fortunately, thanks to the accessibility of streaming services, places like Netflix offer an abundance of terrifying possibilities. Between original offerings and licensed titles, there’s a horror movie for everyone and everyone. Looking for a horror movie to watch on Netflix? Anytime is the right time to watch a horror movie. Waiting for October to indulge in terrifying movies is the old-fashioned way to get tricks and goodies, like renting on Blockbuster or not using Treatster to find out which houses have the best candy. No, in the modern world, thanks to Netflix streaming content, you can sit back and enjoy your scare from the comfort of your own couch.

Here is the list of the best horror movies on Netflix

The Exorcist

The year 1973 began and ended with screams of pain. It started with Ingmar Bergman’s Screams and Whispers and ended with William Friedkin’s The Exorcist. Both movies are about the mood of the human soul, and no two movies are more different. However, each in its own way forces us to look within, to experience the horror, to face the reality of human suffering.

Friedkin’s film is about a twelve-year-old girl who suffers from a serious neurological disorder or perhaps has been possessed by an evil spirit. Friedkin has the answers; the problem is that we doubt he believes them. Bergman’s film is a humanist classic. Friedkin’s film is an exploration of cinema’s most fearsome resources. That doesn’t make you bad, but it doesn’t make you noble either.

Your home

“His House” wastes little time in bringing things that happen (and worse) during the night. He doesn’t play around with the details because he never questions whether it’s all in Bol’s mind – Rial can also see and hear what they refer to as the “sea witch” who lives with them. Weekes subverts our expectations of plot for the genre in a scene where Mark visits his home after Bol pays a disturbing visit to his office.

They experience the haunting differently – Bol’s visions are much more visceral and visual as the witch converses with Rial. Both see and hear their dead daughter, however. “Do you want to know what she says to me?” Rial asks Bol. “She says I should be afraid of you.” Later, when Bol tries to hide his deepest fears from his wife, as he tried to do in the opening scene, Rial calls him a liar. Mosaku hits the word with a force as terrifying as the creatures that keep popping up up.

midnight mass

The vast majority of “Midnight Mass” takes place in a run-down fishing community called Crockett Island. In fact, most of it takes place in the decrepit church, St. Patrick’s, which is recently led by a charming young man named Father Paul (a truly fantastic Hamish Linklater, whose work here almost warrants a look on its own), a charismatic leader who has been sent to replace a man named Monsignor Pruitt.

There’s a twist, of course, a supernatural source to all these unexplained events – and to be honest, it’s a little disappointing. But the Midnight Mass does up by the somewhat predictable nature of its mystery with the thoughtful and varied ways in which the characters react to the changes befalling Crockett Island. Riley isn’t big on the church yet, but Father Paul runs his court-ordered AA meetings, and his weekly discussions inevitably tend toward the philosophical. “So alcohol – that’s not good or bad. The same with guilt, pain, suffering,” notes Father Paul. “It just depends on what we do with it.”

The Curse of Hill House

The very structure of “The Haunting of Hill House” is a beautiful thing, cutting between two eras of the Crain family. Current material presents us with a number of troubled souls, all of whom are involved in trying to psychologically atone for the events that took place at Hill House decades ago.

Ghost stories are inherently based on emotions we all feel; emerged as a way of dealing with pain and explaining the nightmares often associated with it. Flanagan and his team deeply understand how painful memories and deep wells of grief can lead to sleepless nights. Horror here never seems cheap, coming from its notable setting in flashbacks and the emotions of its characters in the present day.

Crude

The film, set against the backdrop of university hazing, explores a gifted young man who discovers new desires and pleasures of the flesh. Ducournau uses a taboo subject, cannibalism, to explore the sometimes taboo subject (at least in certain conservative circles) of female sexuality in the film. Creating a rich metaphor for coming of age and sexual awakening, Ducournau achieves a brilliantly feminist network of intellectual and bodily symbols. Filled with visceral horror and a thoughtful meditation on the various hungers of youth, Raw is an incredibly original and confidently crafted debut.

When Alexia wakes up, her eyes fill with tears at the sight, but not for the reason you might think – Alexia also has cannibalistic desires and perhaps recognizes the aberrant turn Justine’s life will take now. In the role of a mentor-brother, Alexia teaches her younger sister the ropes: Together they wait out of sight on a country road until a car approaches. Alexia jumps out, causing a vehicle to swerve and the passengers to die. It’s fresh meat. The sisters often deepen their bond over their common ground, but rarely if ever while licking someone’s head wound.

crawl

When a cameraman responds to an ad on Craigslist for a day job in a remote mountain town to record the last messages of a dying man, the job takes a strange turn as the latest messages get increasingly murky. The cameraman continues to see the work, but when it’s time to leave he can’t find his keys, and when he gets a stranger phone Upon calling, he discovers that his client is nothing like what he initially appeared to be.

Creep is a somewhat predictable but blissfully demented little indie horror film, the directorial debut of Brice, who also released this year’s The Overnight. Starring the ever-prolific Mark Duplass, it’s a two-man character study – naive cameraman and not-so-secretly psychotic recluse, the latter of whom hires the former to document his life in a cabin in the woods. He relies entirely on his performances, which are excellent.

it follows

“Follow”, the second feature by writer/director David Robert Mitchell (“The American Pajama Night Myth”), works so well because its creators keep viewers at bay. It’s a ghost story, though dead people don’t necessarily haunt its suburban protagonists. And it’s about teenagers having sex, though it’s not a simple celebration or condemnation of dating minors.

“It Follows” isn’t as obtuse as it sounds. If anything, it’s a little frustrating in its limited view of kids who are always worried but never really thinking about sex. Jay and his friends take it for granted that they are living in a constant state of excitement. That’s a given, so Mitchell doesn’t exaggerate or exaggerate this aspect of his characters.

The Conjuration

His haunted house/possession story is nothing you haven’t seen before, but few films in this opus in recent years have had half the style Wan conveys in a creaky old farmhouse in Rhode Island. The film plays with audience expectations, throwing big scares at you without the standard Hollywood Jump Scare buildups, while simultaneously evoking classic golden age ghost stories like Robert Wise’s The Haunting.

“The Conjuring” is as toothless as it is because they are two different types of boring. The movie’s plot is explained exhaustively whenever loud noises aren’t blaring, and random objects aren’t teasing you out of the corner of your eye. In fact, the Hayes brothers are so eager to explain the convoluted story of their “Amityville Horror” ripoff that they dump information into viewers’ laps in three different ways before the movie’s opening credits.

Final note

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