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Margorie Gomoran
Directed by James Wan, "Insidious" follows the Lambert family as they discover their new home holds something truly evil. Josh (Patrick Wilson) and Renai (Rose Byrne) must investigate why their son Dalton (Ty Simpkins) has mysteriously entered a comatose state one morning. The longer he remains in a coma, the more sinister their home becomes when ghosts in an astral plane start to seep through into the real world.
Sadly, "Insidious" will be making its departure from Netflix on May 31. This means you have a limited amount of time to watch it, and I would recommend adding it to your list just for the unique but captivating experience.
Perri Nemiroff from Shockya said: "A little 'Nightmare on Elm Street,' part 'Exorcist' and a hint of 'Paranormal Activity.' Honors genre expectations while delivering a fresh and horrifyingly unpredictable experience."
Not everyone is going to agree, and "Insidious" being one of my favorite horror movies ever is simply my own opinion and personal preference on the genre. Roger Ebert from the Chicago Sun-Times said the movie is "not terrifically good, but moviegoers will get what they're expecting."
As noted philosopher Danny Elfman once wrote, "Tender lumplings everywhere / Life's no good without a good scare." But why stop at just one good scare? We want scares spilling on us like blood rain, especially here in the abundant days of home-streaming services. We live in a world where, with the push of a single button, we can switch from sightless cave-dudes swinging off stalactites to Broadway veteran Tammy Blanchard wielding a butcher knife like nobody's business.
Flanagan players Carla Gugino and Bruce Greenwood star as a married couple whose attempt at spicing up their stale sex life with some kink at a remote cabin goes very, very, very wrong. This film manages to capture the horror of what King laid forth in a perfect and precise fashion. Exquisitely simple and terrifying, and a terrific showcase for what an underrated marvel of a performer Gugino can be.
Mileage obviously varies on this film. Lots of naysayers see nothing scary about snot and little piles of twigs. But for those who are disciples of found footage, this is where lots of us learned how to worship the ways of the shaky cam. Bow down to that feisty Blair Witch! (Or else!)
A chimpanzee in a party hat. A white shoe inexplicably balanced on its tip. A dusty field full of inflatable tube men dancing in the breeze. In just three films (Get Out, Us, and Nope), writer-director Jordan Peele has proven exceptional at creating iconic imagery out of truly ridiculous things. And his 2022 alien-invasion terror set in the remote hills outside of Hollywood where the movies were born is his imagination unleashed on a larger-than-life scale.
The worst comes when the band accidentally witnesses a murder in the green room. And their hosts don't want to leave any witnesses alive. Barricaded in the beer and piss-soaked back room of the title, the foursome find themselves besieged by a troupe of baddies, led by a terrifying Patrick Stewart, who is clearly relishing the opportunity to drop his StarFleet uniform for the cause of deeply freaking us out. Be warned, this one get gruesome.
The film's ambiguous story centers on two children who get left home alone one night with some horrible, whispering presence sneaking around the hallways. Skinamarink demands extreme patience. Often, viewers are left to just stare at a corner of the wall or the floor for minutes at a time, as disassociated voices and cartoon music loops relentlessly. But the weirdnesses keep piling up, and the eventual trance-like trapped-inside-a-nightmare effect, as the horrible whispering presence comes for us, is still rattling my bones.
This 1997 home-invasion thriller cemented the acclaimed Austrian director as someone keenly interested in human brutality. It's not just that Funny Games involves horrific acts, which are often performed with a harrowing shrug or off-screen, but that it wallows in the rippling outward effects that they have. Thus, the plight of the tormented characters bleeds through the screen, reflecting our indifference and our numbness in participating in this world.
Jason Adams is a freelance entertainment writer at Mashable. He lives in New York City and is a Rotten Tomatoes approved critic who also writes for Pajiba, The Film Experience, AwardsWatch, and his own personal site My New Plaid Pants. He's extensively covered several film festivals including Sundance, Toronto, New York, SXSW, Fantasia, and Tribeca. He's a member of the LGBTQ critics guild GALECA. He loves slasher movies and Fassbinder and you can follow him on Twitter at @JAMNPP.
Please note: This list pertains to U.S. Netflix subscribers. Some titles may not currently be available on international platforms. This article is frequently amended to remove films no longer on Netflix and to include more horror movies that are now available on the service.
In the mood for a 2020s Polish slasher created by lovers of 80s American horror trends? Bartosz M. Kowalski uses the campground massacre template to execute a contemporary slasher that feels as throwback as rereleases of Crystal Pepsi. It's a familiar brand of campers meeting gruesome fates one by one with a massive emphasis on practical effects, the goriest and most obscene of which become an overall saving grace. Kowalski aims to prove that Polish slashers can hack 'em up with the best of them, even if there's not much else to praise with the same enthusiasm. If you want blood, you've got it by the truckload.
Netflix's original horror game rose to another level with The Ritual, David Bruckner's directorial debut outside segments in The Signal, V/H/S, and Southbound. Four friends take a northern Swedish hiking trip in memory of their deceased fifth, only to become victims of a woodland nightmare. Visions begin by layering psychological horror as the characters confront fears or guilt, then cultism adds communal dread, and lastly, Bruckner delivers on creature-feature goods. One source of terror feeds into the next and provokes future traumas, all interconnected as Bruckner weaves in and out of multiple horror subgenres with ease. There's so much to enjoy as Swedish forestation becomes an isolated outdoor prison, and then all hell breaks loose. Bruckner flaunts his filmmaking chops in a significant way.
Director Gareth Evans did not come to play with the gorgeous and gory Apostle. While the Netflix original is several years old at this point, it still feels like this one never got the attention it quite deserved. Before the era where Netflix original films were super prevalent, Apostle follows Thomas Richardson (played by none other than Dan Stephens) as he seeks out to rescue his sister from a strange, secluded cult.
Netflix and Amazon Prime Video may be the couch potato community's favourite all-round video streaming subscription services (and for good reason). But while the mainstream (pun intended) players have firmly cemented themselves into TV-binging culture, and inevitably offer something for everyone with their tens of thousands of titles, TV and movie buffs with specific tastes could be better served by more niche alternatives. What's more, the bigger services are jacking up monthly subscription costs, removing content, introducing ads and, in Netflix's case, stopping any kind of account sharing, even between family members.
So, if you're a self-proclaimed cinephile, horror connoisseur or Disney fanatic, dream of a more studiously curated catalogue, or are simply looking to try something fresh and less restricted, perhaps one of these rival services better deserves your direct debit. And even if you decide they don't, you can get over 11 weeks' worth of free-trial binging on your journey to discovery.
MUBI states that it will provide HD and 4K versions of classic movies where possible. However, for many movies this option doesn't exist. Newer content is better served though, as most options stream in high definition. The bonus: no ads.
If you're a film enthusiast, the likelihood is you'll have come across Criterion before. It's the organisation behind the Criterion Collection, a series of home video releases that includes some of the most pivotal films in cinema history, usually accompanied by a selection of special features and commentaries from directors, actors and producers.
The Criterion Channel is a streaming service version of this idea, collecting over 1000 movies from acclaimed directors such as Alfred Hitchcock, David Lynch, Ingmar Bergman, Michael Hanneke, Werner Herzog and many more. Each film holds significance, whether it's a treasured Hollywood classic or a niche Art House flick lost to time. This service is a must for self-proclaimed film buffs, as you can either scratch the surface of classic and contemporary films or dive deep into the decades of film history.
The Criterion Collection supports 4K HDR but only for mobile and desktop streaming, which is an odd choice considering mobile devices are far and few between. However, you can enjoy 1080p high-definition streaming elsewhere, and considering most of the content on the platform is quite old and won't support a 4K resolution anyway, this is by no means a deal breaker.
The one catch is that it's exclusive to North America right now, however, there is an option to put your email down to request that it be bought over to other regions, and if all else fails, you can always use a VPN to access it.
Apple TV+ is still probably a second subscription service as opposed to a primary one considering its appeal lies mostly in its modest (in number), high-quality Apple Originals. That said, the catalogue has grown considerably from the 17 titles it launched with in late 2019 due to an increase in Apple productions as well as licensed content from third parties.
Apple Originals are certainly gaining traction in the TV and film industry, with its Ted Lasso drama picking up multiple trophies including four Primetime Emmy Awards. For All Mankind and Little American are also particularly strong in our opinion. Apple TV+ was the first streaming service to win an Oscar for Best Picture, with CODA taking home a trio of golden men at the 94th Academy Awards.
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