The Best Horror Movie Streaming Right Now

Is general writing about something sticky and embarrassing right now? Writing words for whatever purpose seems almost insensitive to me, and the idea of suggesting publishers surprises me as a brutal and selfish abuse of time. Am I looking for a stimulant for healthy distractions or do I instinctively use paranoia? Should I ask these questions, or should I give up pretentious self-control and carry on with my dear list as if nothing strange is having a strong impact on our lives right now?

Hey, we all have to live in spite of the horror, so I have to ask, shouldn’t we prepare for an intoxicating horror classic, other than keeping our heads above water in obstructive uncertainty? Absolutely. Half the newspaper articles seem necessary (and it’s impossible to fight it), but our days and nights can be not only alarming. All we need, besides food, water, conversation, meditation, moderate exercise and a random note, is a film about the most diverse forms of abandonment. My journey in this genre and one of my few remaining interests is horror.

I have written several horror film lists, most of which are obvious compilations of obscure horror pearls, intended exclusively for real horror lunatics or middle-aged crooks who saw the film on television in 1986. I’m slowly becoming both, in my defense: My goal was just to get people into the movies I like.

POWERFUL: Chris Hemsworth thanks the fans for the fact that the production has reached the most important stage of Netflix.

I write about horror simply because I love horror, or rather the treasures of the late ’60s, ’70s and ’80s, and I want horror fans to discover or judge many of the films I believe in. Fortunately for us, we are closed to more streaming services than ever before, most of which contain a half-hearted selection of horrors.

Whether you love ghosts, the undead, terrible perverts or creatures, good clicks are now available on Prime, Netflix, Hulu and (surprisingly) Tubi. I washed a lot of crap and I chose the best horrors so I didn’t have to.


Netflix is deeply immersed in a real criminal documentary game of late. It is as if every day a new mini-series appears with images of drones from a small isolated town leading to an unsolved mystery about a woman trapped in a barn. It’s common, but that’s not all they have to offer – Netflix has decent movies if you flip through them carefully. I admit that their selection of horrors is small, but at least there are a few large ones you can see.

Child of Rosemary (1968)

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It’s a summary: A young couple moves into a prestigious apartment where they meet beautiful neighbors, a mysterious pregnancy and understandable paranoia.

Little Rosemary is probably the mother of all slow films with a heavy atmosphere and of a well-known film that requires almost no shots. It is the best anticipation of the last horror (perhaps by the standards of the critics), but at the same time tense to the point of nausea. We are all familiar with the climax, as it has been referenced, copied and parodied since its release, but getting to know it doesn’t make it any less disturbing. Little rosemary is a timeless look that leaves hair standing and sets the mood for everything that follows.

The man with baskets (1973)

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It’s a summary: A policeman was sent to Scotland to look for a missing girl. The inhabitants of the island village claim that the girl never existed.

The Wicker Man is a cult hit, a sinister slow-motion journey and a strange one-click treasure that only achieves its rightful fame under a very specific set of horror nerds. If you’ve enjoyed the success of Midsomar 2019, you can thank Robin Hardy, the wicker man, for the space. As for the movies about the occult, she’s a matriarch. This is the work of a British horror master, in which speed plays a major role in arousing fear, while the finish is incomparable in terms of anticipation. Nicholas Cage’s remake is just the best example of an involuntary comedy that would be embarrassing if it didn’t evoke so much laughter. Skip the remake, unless you love painkillers and need some kind of weird relief.

Invitation (2015)

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It’s a summary: A man attends a dinner organized by his ex-wife and characterized by strange behavior and high tension.

Invitation is a memorable horror thriller that is strange enough to sound the alarm, but not exciting or inventive enough to be considered a classic of its kind. As in other films already mentioned, this is an increase in the invitation, a shift that leads to a somewhat satisfactory but ultimately predictable climax. All those words, it’s a scary and fascinating watch.

Creep (2014)

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It’s a summary: The naive young director responds to an online advertisement about a concert by a cameraman in a remote city where the latest messages of a strange and dying man have to be recorded.

Mark Douplas’ amazing play makes Creep what it is – a surprisingly shiny nutty refrigerator that puts a tense, clumsy comedy into an honestly scary role. Crawling is smarter than cruelty and much more productive than throat. In fact, it’s usually manual, but it can penetrate under the skin, whatever it does. Creep is so unique that you want to see a sequel that is just as great in itself (more experimental and a little crazier). If after the 2000’s the horror is impressive enough to convince the ostentatious (idiotic) horror head like me to watch a sequel, it must be solid.

Witch (2015)

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It’s a summary: In the 1630s, magic and black magic took control of the family’s wages in New England.

The witch is a silent horror, visually spectacular, with a strong eerie character; a kind of wink to the 70’s and with a more beautiful cinematography (not to mention the score with the ghosts). If you like witches, scarecrows, folklore or just a dark atmosphere, you will love the witch. Does he deliver a leisure construction? It’s up to the individual observer to decide. Is he alone and perhaps too praiseworthy for his opponents? It’s not worth the answer or the extension. Is it worthy of a watch? Of course you did. Would I have more respect for this movie if it was the same as in the ’70s? Unfortunately, yes. Have I asked myself a question and an answer lazily instead of writing a really thorough review?

The Evil Dead (1981)

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It’s a summary: A group of friends goes to a remote hut in the forest where they accidentally release demons.

Sam Remy’s low-budget debut at camp requires little or no registration on my part. Many horror films have achieved cult status over the years, but The Evil Dead is probably the biggest cult classic, and for good reason. This is the work of a young, hardworking filmmaker who wants to prove himself with an extremely limited budget. Fortunately, the low budget worked in Raimi’s favor. What he has created is a mountainous and monstrous masterpiece that is incredibly stupid, but at the same time frightening and terrifying. Death of Evil is the quintessence of the camp, where the camp was deliberately and masterfully set up.

Candidate (1992)

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It’s a summary: A PhD student investigating the mythical monster known as Candyman subconsciously summoned him.

Virginia Madsen plays a charming and sympathetic leading role in this shocking story of urban myth. Two factors distinguish Candyman from other horrors of the 1990s and earlier: This happens in the neighborhood, a common space rarely touched by fictional killers in horror movies, and we, as viewers, should be genuinely concerned about the psychological well-being of the protagonist. Death is not an insignificant loss of value in the name of pure entertainment value – it has a sincere effect on Madsen’s state of mind, which motivates the horror as much psychologically as the pleasure, cutting it off.

Platform (2019)

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It’s a summary: The vertical prison houses prisoners who are forced to eat on a platform that feeds them, especially those on the highest floors.

The platform is an extremely cheeky and rather rough satirical commentary on the classroom, filmed in a very limited setting, with a sharp dialogue and not much more. It’s a dark, cheeky and minimal effort to push you away and get bored. They throw a few turns, although this one certainly doesn’t think much. The platform is undoubtedly a polarizing journey, like every click.


Of all streaming services, Hulu is probably the one that broadcasts the most television programs. I pay tribute to them because their selection of films leaves something to be desired (although it is well thought out).

Corn children (1984)

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It’s a summary: The young couple settled in the remote town of Nebrascan, where a religious children’s cult believes that everyone over the age of 18 should die.

Apart from the terrible heydays of the 80’s, Children of Corn is phenomenal and still gives goose bumps to the public. Few films are better suited to the scary, deserted city, and in that sense the early 80s actually offers the advantage of Children of the Corn. Despite the flaws, the film is still dark and in fact full of excitement. It contains something that is perhaps one of the most gruesome opening scenes in the film, and although none of the remaining scenes coincide with the first moments of horror, Children of Corn is a breathtaking clock.

Courtney Gaines shines as Malachi, the redheaded tyrant, the second oldest in Isaac’s team, who herself is remarkably afraid of it. The fake blasphemous children are not the scary village of the ’60s, but they are there like some of the scariest children in the movies. Who can argue with Midwestern child murderers who promise faith to a false prophet in a cornfield?

House in the forest (2011)

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It’s a summary: Five friends go to the forest house, and the dark mystery behind it is solved.

The horror comedy is little known about the absurdity of the film Frightening, even though the meta-approach, which is based on self-confidence, evokes a very real smile between fears. A cabin in the forest unexpectedly produces spectacular horror in the last 30 minutes, making up for all the little hiccups, a certain inequality between our guests, although director Drew Goddard clearly intended this as a tribute to the inexhaustible supply of useless 1980s horror films for teenagers who serve no purpose other than death. The Hut in the Woods is very inventive – smart enough for non-lovers who just want a unique and exciting film, but at the same time bloody and scandalous enough for the most avid horror fans who yearn for mountains and darkness. Although, I’m warning you, the curves here are going to be groundbreaking and ridiculous. Yes, the climax is amazing, but almost too inspired for his own good.

Decrease (2006)

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It’s a summary: An expedition to the caves is unsuccessful because the group exploring the caves is caught and hunted by terrible predators.

Thanks to the passionate performance of all women and a constant feeling of fear, The Descent turns out to be a claustrophobic film worthy of the name, which is both a psychological thriller and a creative element. What he lacks is the dark good mood, because he relies too much on the shock and the fear of jumping, but what he does well is the strong descent.

28 days later (2003)

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It’s a summary: An incurable virus is spreading throughout the UK and few survivors seek safety.

Of course it may be too close to home at the moment, but the state of our current society makes the next 28 days particularly uncomfortable (and appropriate). That’s all it takes – frown, threat and horror. Some ideas haven’t been fully explored yet, and the final act is a bit shaky, but 28 days later it’s a successful report on the pandemic of hell that has affected almost all the sinister clicks that followed.


Tuby was a shock to me. This is a completely free streaming service, and it’s very similar to what it looks like. When you first scrolled the page, it was as if the CVS Register DVD Rack 2007 was a streaming platform. There are all the C-mirror and comedies from the early 2000s that you didn’t know existed. If you really spend time searching, you win gold. Tuby’s horror options are impressive and extensive. I’ll save you some combing time. Here’s a very long list of horror stories about Tubi.

Carnival shower (1962)

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It’s a summary: After the tragic car accident, the woman takes up her duties as organist in the church and begins to feel the longing for an abandoned carnival.

I apologize for the enthusiasm with which I write about the Carnival of Souls, but it is one of the three best horror films of all time. It is rare that a film from the sixties is not a bit outdated – the lack of colour even adds to the fright. The carnival shower is pleasantly slow and exceptionally strange, and with good reason. As a spectator, you only have to guess what’s going on: Is this young lady crazy, or has everyone around her forgotten? And how come everyone she meets is so distant and strange? It is terrifying, even in dull moments, and it takes very little fear to turn this gem into a terrible event. In this scenario, fear itself breaks records. The supernatural images of the Carnival of Souls can never shake you; the highlight is the visually beautiful hell.

Night of the living dead (1968)

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It’s a summary: A group of Pennsylvanians seek refuge on a farm, while carnivorous undead devour the east coast.

What’s there to see here? The Night of the Living Dead changed the genre of horror and played an important role in the growth of the zombie subgenus. He introduced us to George Romero, one of the greatest horror directors of all time. It gave rise to sequels, remakes, parodies and fakes. The Night of the Living Dead may not be considered the best zombie film of all time (Romero’s Dawn of the Dead is usually called that), but it is certainly the most important one.

Return of the living dead (1985)

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Abstract : Two workers in a drug warehouse give off gas that revolts the dead.

I must say, terror is more fun than the return of the undead. The most remarkable aspect is the concept he introduced – zombies eat brains. For the return of the undead, no film directly referred to the fact that the undead feed on the brain. That’s a damn good sign. It is rare to give a trigger with real horror, humour, sensitive characters, constant excitement, effective mourning, brilliantly executed effects and long nude shots. Besides, he’s as punk as the movie.

Crazy (1973)

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It’s a summary: A military battle to contain the crazy virus that has swept through a small Pennsylvania city.

The Crazies is not the best Romero, but it is skillfully written, with a strong and very dark message. There is no hope in this film, and we have to respect the horror, which does not bring any positive results. What’s more, it’s dried and soaked in a perfect dose of ’70s madness, giving it a borderline documentary feel.

Hell of the living dead (1980)

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It’s a summary: The journalist and her cameraman friend join four-man commandoes in the jungle of New Guinea and fight hordes of zombies.

This is not the work of Lucio Fulci, but the hell of the undead is the simple madness of the Italian zombies of the late 70s. Like most Italian horrors of the 70’s and 80’s, Hell of the Living Dead is accompanied by about 4 alternative tracks, including Zombie Creeping Flesh, but Hell of the Living Dead is the song that comes loudest. That’s exactly what you would expect from the Italian horror of 1980 – beautiful movies, a small plot, senseless nudity, Asinin’s dialogues and a lot of pain. If you’re a fan of tough zombies or just a fan of grotesque cheese, you should at least look at the ironic look.

Cripshow 2 (1987) (Only the history of the raft)

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It’s a summary: Horror 3 anthology of horror fairy tales.

It’s a unique shot in that I don’t recommend a whole movie. Creepshow 2 is a mess compared to the first one, but how can an anthology written by Stephen King, directed by George Romero and whose effects are signed Tom Savini, hold a candle in one click? What Creepshow 2 has in store for us is a segment called The Raft, which by some standards is just as good, if not better, than one of the stories in the original Creepshow.

Door (1986)

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It’s a summary: A group of children left alone at home free several demons from a hole in the garden.

Ah, the door, a shamelessly fantastic horror that has the weight and the heart to make it a happy and gently frightening clock. You will not experience difficult moments, but you will be exposed to exceptional weather effects, unique light darkness and great acting performances by children. What the portal does well is to tell a creative story about children, where the children are complex, funny and refreshingly natural.

Exorcist III (1990)

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It’s a summary: A police lieutenant interrogates patients on a psychiatric ward to uncover details of a series of violent murders.

He is not an exorcist, but nothing is an exorcist, and these are better worlds than the beastly exorcist II: A heretic. Exorcist III William Blatty doesn’t get as much recognition as he deserves. It is a powerful paranormal cooler with excellent performances by George Scott, Ed Flanders and Brad Durif. Not to mention the fact that there is at least one of the most shocking and memorable moments in the history of terror. Don’t write it down as a third asshole.

Texas Chainsaw Massacre (1974)

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It’s a summary: Brothers, sisters and their friends are victims of a group of psychopathic ogres on their way to their grandfather’s grave in Texas.

Tobe Hooper changed the name of the horror game to The Texas Chainsaw Massacre with a chainsaw. Many people remember that this violence is more brutal than it really is, and this is pure proof of the effectiveness of the atmosphere in the film. The film looks grainy and grotesque – and it is, but it’s not too bloody. It was the grain size, humidity and lack of sophistication that led Hooper to help break through the Texas Chainsaw Massacre of 1974.

Accommodation (1983)

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It’s a summary: A shy girl goes to summer camp with her cousin, where all the less nice people get their debts paid off.

I say it without shame: Camp Sleepaway is one of the best in the world, with a much bigger atmosphere than usual. Mainly known for its comically absurd curves, but in many ways Sleepaway Camp stands out against the backdrop of the seemingly endless whiplashes of the 1980s: The murders are original. A ton of constant and ubiquitous grey, despite the fact that no cheese was visible in the 1980s. And finally, the strange psychological torments to which our lead is subjected are more intelligent than what is normally pressed into our hands by a tailor. Sleepaway Camp offers a special comparison – a picturesque, secluded, seemingly eccentric summer camp where absolutely nothing cheerful happens. The beautiful landscape, inspired by darkness, creates a good atmosphere.

Dark Scarecrow Night (1981)

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It’s a summary: In the southern rural town, a man takes revenge on those who murdered him behind his grave.

This beautifully edited horror of village revenge is a film from the early eighties, made for television, which makes it even more remarkable. The Dark Scarecrows Night leaves most of the horror to your imagination, and it’s scarier. A set of solid performance, a fortunately slow pace, simplicity and a relaxed feeling make this film not only a great horror film for television, but also a fantastic film for television in general.

Day of the Dead (1985)

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It’s a summary: A group of scientists and soldiers find themselves in an underground bunker while the world is being stormed by zombies.

Apparently tuby’s full of george a’s stuff. Romero, and thank God! The Day of the Dead is not the Day of the Dead, it’s not stupid. It is undoubtedly darker than its predecessor, which is why many may consider it their favorite death movie. The Day of the Dead suffers from very bad acting, but the disgusting images, the unshakeable feeling of despair and the social commentary on Romero’s handbook make up for some of the performances that can be seen without observation.

Suspiriya (1977)

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It’s a summary: The American goes to a prestigious ballet academy in Germany, where strange behaviour and violent events lead her to believe that something sinister is going on behind the scenes.

We have finally reached a Dario Argento, the best of this Argento! Over the years Suspiria has found its rightful continuation, so an analysis may not be necessary, but I would like to emphasize its impeccable qualities: Argento’s cinematography is almost unrivalled here. The decors and colours are impressive and Argento expresses itself in a very lively way. The atmosphere is tangible. The last 20 minutes of the film are nothing but nightmarish material. Suspiria fights for both titles: The best Italian horror ever seen, and the most atmospheric horror ever seen.

Haunted house (1959)

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It’s a summary: Millionaire offers 10,000 to 5 people who agree to spend the night in a scary villa.

Keep moaning – you have to put House on Ghost Hill on all the appropriate horror lists. We can admit that he has matured with the corn, but we must also admit that he is a delightful bum with funny dialogues, (sort of) scary moments and Vincent Price’s greatest achievement (you can’t be more controversial than that).

Black Christmas (1974)

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It’s a summary: Canadian sorority girls are haunted by a stranger during the Christmas holidays.

I apologize and warn you not to use me in this mini-questionnaire, because it’s probably my favorite horror movie of all time. I can’t say enough good things about director/pictor Bob Clarke and Black Christmas, especially since this guy never gets the respect he deserves for the introduction of the slasher genre. John Carpenter’s Halloween is usually celebrated as when the editing of the films began, but Bob Clarke did it on Black Christmas four years earlier.

Black Christmas is quite tasteless, almost without graphics and doesn’t kill much for a film that paved the way for overly aggressive films. It may seem awful and have bloody murders, but Black Christmas is more shocking with its hints of darkness and some disturbing sounds that will linger in your memory forever. I’m not gonna walk around with a pussy that has an unusual description: Black Christmas is a scary movie. I know you can’t really see that in a lot of movies. We label the scary things that aren’t scary, and we always follow the path to the scary things that are really scary. Black Christmas is one of the things that really haunts. The letter is so neat, and Clark prints some very funny lines, but that doesn’t stop the whole operation from being an imperturbable hell, and as dirty and dark as can be. You just feel stained after seeing that.

All characters are deep, except those that shouldn’t be (although stupid Sergeant Doug McGrath even has a problem with him). There are tangible conflicts in relationships that get you into serious trouble. More comical and talented characters deliver well-written jokes with a touch of dryness. She’s as convincing as she is afraid. I hope I still understand.

Slumdog massacre (1982)

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It’s a summary: A patient who escaped a mental illness due to an exercise accident on a school night.

Here is another guillotine, which easily adapts to the endless parade of the 13. Friday’s Horned Fakes could be tuned, but he also stands out, a bit inspired and horny at the highest level. Slum Battle is a great movie, and I’m not saying that as a man with Becnae. Despite its ridiculous name and youthful starting point, director Amy Holden plays it pretty straightforward – as if what started out as a parody is just a humorous walk on a simple, average massacre. A few visual gags splash here and there, but the project is not ironic or deliberately stupid. A massacre in a slum during a party is a happy and well executed massacre of many forgotten people.

Amazon Primus

Although Amazon Prime has the scariest and most uncomfortable layout of all major streaming services, it is the leader in film selection. Your horror list is long and full of gems (although the thrill structure gives you access to much more).

The City of the Living Dead (1983)

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It’s a summary: The suicide of a priest opens the gates of hell, and it falls on a journalist and a media channel to close them.

Finally, a little Lucio Fulci! This list would be absolutely ridiculous without some of the works of the crazy Italian master/artist himself. The City of the Undead is part of the infamous Fulci Gate of the Heltrilogy and often stands in the shadow of the afterlife. It may not be the best version, but it’s Fulci’s manual – almost carefree, misnamed everywhere, and full of meaningless dialogues, as well as breathtaking beta madness, incredible sadness and sincere cruelty. The City of the Living Dead has legendary horror images, and the concepts are so disgusting you’ve never seen them before. He doesn’t have the most structured and complex story, but Fulci gets what he wants – by making us nauseous and scaring us with his pants.

The living dead in the Manchester mortuary (1975)

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It’s a summary: The policeman tracks down two hippies he suspects are responsible for the Manson family as murderers in ignorance of the real killer – zombies brought back to life by agricultural chemicals.

To put it bluntly – The Living Dead in the Manchester Morgue is perhaps the most underestimated zombie masterpiece in history and one of the greatest Spanish horrors in history. It is a minimalist and atmospheric zombie story with a simple and effective undead. British rural landscapes create a certain beauty on the canvas, and the resulting hell causes real unpleasantness.

Zombia (1979)

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It’s a summary: Strangers looking for the missing father of a woman are on a tropical island where a doctor is desperately searching for the cause and cure of a zombie epidemic.

With this Italian recording, Fulci created a madness at the beginning of George Romero’s death. As far as I know, it’s the only place you can see a zombie fighting a shark.

Consistency (2013)

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It’s a summary: The passage of the comet leads to strange incidents at a dinner with old friends.

Coherence is an effective low-budget science-fiction thriller in which dialogue is difficult; it is usually fluid and perfect, depending on what you don’t see. The film focuses on the drama that unfolds between old friends at a dinner party and their varying degrees of paranoia in the face of inexplicable and bizarre events on the street. It is an unforgettable foreign click, without holes or even a lot of action. The coherence blossoms in his strange constitution and the importance he attaches to the instability of the characters. In fact, it is a very successful experiment, how a film about extraterrestrials can be disturbing for almost any budget. The film only suffers from the expected and disturbing end, but the coherence will bother you much more than you think.

Dark red (1976)

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It’s a summary: A jazz pianist and a journalist are involved in the mysterious murder of a clairvoyant.

Deep Red, an exemplary work by Hyallo and the formative work of Dario Argento, is a skilfully filmed, layered thriller that has given other mysterious/conceptual directors something to film. Argento reveals his characteristic shock tactics and expert work with the camera, as well as a bright red and seductive blood that is stylistically skillful. For me this is not the level of Suspiriya, although for others it is an even more fundamental effort. Apart from the comparison, Deep Red is an extraordinarily elegant early funeral service introduced by the genius of Argento.

Heritage (2018)

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It’s a summary: The Graham family, mourning the loss of their matriarch Ellen, is terrorized by haunting secrets about the family’s origins.

The real highlight of Inheritance is the appearance of Tony Collelet in the role of Annie, but the lasting effect the film leaves behind is also worth mentioning. It is a sad, visually disturbing journey, where horror comes from a date or rather a depressing reality. Ari Aster’s staging is clearly inspired by the work of art of the seventies, because it is a slow combustion with atmospheric movement and a skilful execution. The heritage would have been more remarkable to the viewer, or at least more authentic, if you had not been well informed about witchcraft in the 1970s. I don’t call it a distraction at all – it’s a modern approach, but it would be nicer not to know where the ideas are coming from.

Devil’s Night (1988)

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It’s a summary: On Halloween night hooligans play in an abandoned funeral home where the forces of evil awaken and eliminate one by one.

Demon Night is just about everything a late ’80s movie can get from watching wildlife. This horror comedy is full of the right amount of theatrical stupidity and surprisingly good horror elements and excellent makeup effects. Demon Night is a cut with a paranormal pepper. He’s creepy, stupid, graphically exposed, and YES is very horny and dirty.

Dead rings (1988)

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It’s a summary: The gynecological twins benefit from the fact that no one can tell them apart.

Some David Kronenberg has been on that list for a long time. Dead Ringers may not be Kronenberg’s most remarkable click, but it’s a strange psychological thriller with a neat concept and excellent effects.

Companies (1992)

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It’s a summary: A teenager discovers that his family is part of a social elite cult.

While society is conceptually a bit obvious and derived from the attack on the rich elite, it is a swirling pearl of cinema that lingers in the depths long after it has been seen.

Friday 13 (1980)

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It’s a summary: Teenage advisors are trying to reopen the summer camp where the murders took place, to be told by masked assailants.

She is not the first lawnmower or the best for a summer camp in the forest (see Burn), but she is the inspiration for the comic list of sequels and decades of reefs. Friday the 13th doesn’t need much more praise or analysis than it has received over the years, but I say this: it is effective in its purpose, it has one of the most memorable terrible endings, and it has helped the great Tom Savini to make his magic work on many other films.

Cap Sematarium (1989)

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It’s a summary: A father, mourning for his grandson, turns into an old cemetery in search of a solution.

Pat Sematari is the only amazing fact of its kind: It’s a very attractive film, usually bad, but when it’s scary, it gets into the legendary part of horror. Scenes with Zelda, for my money, the most exciting moments of the movie. Pet Sematary is looking for the worst film ever made, but it’s ridiculously gruesome as a whole. To defend his acting: Fred Gwynn is as great as Judd Crandall’s wise old neighbor. Dale Midkiff, on the other hand, like Louis Creed, is hard to digest, kind of horrible. If you don’t notice that the TVs in the mini-series work in parts, Pet Sematary is a horror classic and a perfect Stephen King adaptation of the others.

Shaker extension for Prime

I don’t know if the extra $5 a month is enough for Shudder because you don’t have as many extra movies as you think, but it does offer some of the best horror movies. For example, Shadder owns most of John Carpenter’s best work, although the Prince of Darkness would be a great addition. I just quote the best horror movies about Shudder without any summary or explanation, because what follows is only available to horror lovers who need some extra money to finish (and I’m exhausted).

  • Hill’s got eyes (1977)
  • Fog (1980)
  • Dead and buried (1981)
  • In the mouth of madness (1995)
  • change (1980)
  • Cemetery house (1981)
  • Fantasm (1979)
  • Halloween (1978)
  • Beyond (1983)
  • Zombie (1979)
  • Repeat Host (1985)
  • Night of the living dead (1968)
  • Audit of the accounts (1999)
  • Black Christmas (1974)
  • The void (2017)
  • Babaduk (2014)

Topics: Flow, Netflix, Hulu, Amazon Prime.

Michael is a former (even more sorry) failed YouTuber rapper and a former writer who is mainly active in pop culture. He has a special preference for the horror comedies of the 70s and horror movies on netflix 2019,best horror movies on amazon prime,best horror movies on hulu,best horror movies right now,best horror movies on netflix 2018,best horror movies 2019,netflix horror movies 2018,best movies on netflix

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