The 20 best horror films of 2024

So, without further ado, let’s dive into the 20 best horror films of 2024.

20. Heretic – Scott Beck, Bryan Woods

Heretic, directed by Scott Beck and Bryan Woods, is a religious horror film with an intriguing premise that keeps viewers engaged for most of its running length. Confident Sister Barnes (Sophie Thatcher) and timid Sister Paxton (Chloe East), two young missionaries, arrive at the doorstep of Mr. Reed (Hugh Grant), the final stop on their daily rounds. Initially welcomed by their reclusive host’s polite demeanor, the women soon realize they have been drawn into a sinister test of faith. As they navigate the eerie atmosphere of Mr. Reed’s home, they are forced to question everything they believe while struggling to survive a dangerous cat-and-mouse game.

A significant source of intrigue in the film is the suspense surrounding Reed’s motives—why he refuses to let the two Mormon missionaries leave and what he ultimately wants from them—though it’s clear that religion plays a key role, keeping viewers interested in how the plot unfolds. The film poses some critical questions about faith, religion, and belief through Reed’s character, and it retains our curiosity as Reed professes to know what true religion is (which I initially thought to be satanism). Additionally, I didn’t mind the film’s dialogue-driven style because the thought-provoking analogies and conversations kept me engaged. Reed presents his perspective on religion by drawing comparisons to the evolution of board games and well-known music lawsuits—such as The Hollies suing Radiohead over Creep and Radiohead later taking legal action against Lana Del Rey for Get Free—and even hilariously compares Jesus to Jar Jar Binks. However, the reveal of his true religion was a letdown and did not live up to the film’s extensive buildup. As a result, the third act becomes a highly predictable survival thriller, leading to an ordinary conclusion. Grant is brilliant as an evil charmer, anchoring the film flawlessly and reveling in his portrayal of a godlike tormentor to the poor girls. Despite its flaws, Heretic is a unique addition to the horror genre, leaving an impression on viewers long after watching it.

19. Alien: Romulus – Fede Álvarez

Set between Alien (1979) and Aliens (1986), Fede Álvarez’s Alien: Romulus is a well-crafted horror film that is a worthy addition to the acclaimed Alien franchise. Taking place in the year 2142 in Jackson’s star mining colony, the film follows Rain (Cailee Spaeny), an orphan colonist, and Andy (David Jonsson), a humanoid created by her father with the primary mission of protecting her, as they fight to escape the planet from the oppressive rule of the Weyland-Yutani Corporation, which prolongs miners’ and farmers’ contracts, effectively enslaving them. When Rain’s contract is extended, she decides to join a group, including her ex-boyfriend Tyler (Archie Renaux), his pregnant sister Kay (Isabela Merced), their cousin Bjorn (Spike Fearn), and adopted sister Navarro (Aileen Wu), in a daring escape attempt to the planet Yvaga. Their journey takes them to an abandoned station, where they accidentally unleash a terrifying alien entity threatening their survival.

Despite the lack of originality in the story, the film is compelling enough to keep you invested. The jump scare sequences are well-designed and executed, particularly the one in which the facehuggers attack for the first time or the sequence in which the characters must pass through a room filled with these little monsters without making a sound. The film delivers well-timed twists and maintains a solid plot progression, continuously placing the characters into increasingly dangerous situations they must find a way to escape. Additionally, the film heightens tension in the third act by turning the screenplay into a race against time, as the characters must flee the Corbelan spacecraft before it crashes into LV 410’s planetary rings, raising the stakes and keeping the viewers on edge. The lead characters are fleshed out enough to make us empathize with them and root for their survival, especially evident in the touching dynamic between Rain and Andy, who share remarkable chemistry. David Jonsson gives a convincing performance as Andy the humanoid, and by steering clear of the company-controlled archetypes played by Michael Fassbender and Ian Holm in the previous Alien films, his character brings a refreshing change of pace that enhances the film’s emotional depth.

18. Longlegs (2024) – Osgood Perkins

Longlegs, directed by Osgood Perkins, is a flawed yet intriguing slow-burn crime horror film worth exploring. In the 1990s, an FBI special agent named Lee Harker (Maika Monroe) is assigned to investigate the unsolved case of an elusive serial killer who murders families without ever being present at the crime scene. As she delves deeper into the chilling birthday murders, Harker begins to sense an eerie, supernatural force lurking beyond her conscious awareness. Her pursuit becomes even more personal when she uncovers a shocking connection to the killer, forcing her to race against time to prevent another innocent family from falling victim.

The film wastes no time in plunging us into the bleak hamlet of Oregon, gripped by brutal murders committed by a serial murderer. The killer’s unique pattern and modus operandi are fascinating, and watching Lee piece together the murders and interpret his dark, satanic messages makes for a compelling watch. Even though the serial killer’s face is revealed in the first scene, the central mystery that captivates viewers is who he is and how he commits crimes without physically being present. As the investigation deepens, the film transitions from a crime thriller into supernatural horror, addressing the central mystery through an unsettling paranormal lens. This shift may provoke mixed reactions; while some may embrace the eerie turn, others might find it underwhelming, as the supernatural resolution may not live up to the film’s suspenseful buildup. Those expecting a more intricate or ingenious solution to Longlegs’ mysterious killings could be left disappointed. While the procedural elements build immense tension, the supernatural aspects don’t quite measure up, making them feel underwhelming. That being said, the film remains engaging, and the final act isn’t a total bust (I found it enjoyable upon my second watch), as it manages to hold attention with its eerie atmosphere of quiet dread and a disturbing sense of evil lurking around every corner. The film pulls you into its unsettling world with its prolonged, atmospheric shots, dark cinematography, and haunting background score. Osgood Perkins consistently establishes a strong tone, leaving you uneasy and unsettled throughout. Maika Monroe gives a credible performance, and Nicolas Cage transforms into a freak, looking and acting threatening, especially in the interrogation scene with Harker. Longlegs is a decent watch, but let’s avoid drawing comparisons to classics like The Silence of the Lambs (1991), Zodiac (2007), or Se7en (1995), shall we?

17. Smile 2 (2024) – Parker Finn

Read the full review of Smile 2 here

With Smile 2, Parker Finn builds upon his clever premise of Smile (2022), creating a compelling sequel that thrives on strong character development and an exceptional lead performance. Smile 2 continues right after the first film’s events, centering on Skye Riley (Naomi Scott), a world-famous pop star who falls victim to the curse. As she prepares for her comeback tour, the curse starts exploiting her trauma, causing terrifying hallucinations that blur reality. Determined to regain control, Skye fights to break free from the entity before it consumes her life.

As Skye is cursed, the film revolves around her descent into insanity, which the director skillfully manages without letting the screenplay stall. Although her hallucinations are initially quite clear and noticeable, they gradually become more subtle throughout the film, leaving the audience, much like Skye, uncertain as to the veracity of what they see. The makers skillfully blur the line between reality and illusion, a key factor in the success of the “descent into madness” angle. Consequently, the film introduces some unforeseen twists, particularly in the final moments, that are genuinely surprising and will catch the audience off guard. Smile 2 stands out due to its compelling central character, Skye, a pop star battling addiction and personal demons, brilliantly portrayed by Naomi Scott. Her performance shines in a pivotal charity event scene encapsulating Skye’s emotional turmoil. While the film contains effective jump scares, it excels at character-driven storytelling, which elevates it above standard horror fare and provides a rewarding viewing experience.

16. Humanist Vampire consenting Seeking Suicidal Person – Ariane Louis-Seize

Available on Amazon Prime Video

Humanist Vampire Seeking Consenting Suicidal Person, directed by Ariane Louis-Seize, is a charming and thoroughly crowd-pleasing coming-of-age vampire horror comedy. Sasha (Sara Montpetit) is a young vampire uncomfortable with killing humans for food. When her parents, fed up with her behavior, cut off her blood supply, Sasha is sent to her cousin Denise’s (Noémie O’Farrell) home to gain independence and learn to hunt, but she continues to refuse to kill. Fortunately, she meets Paul (Félix-Antoine Bénard), a lonely teenager with suicidal thoughts who is willing to sacrifice his life to save hers. However, their amicable arrangement quickly becomes a nighttime mission to grant Paul’s final desires before dawn.

Humanist Vampire Seeking Consenting Suicidal Person follows Sasha and Paul, two introverted and socially uneasy people whose paths unexpectedly intertwine in strange circumstances—Paul trying to end his life and Sasha on her quest to catch her first human meal. Despite the film’s thin plot, its compelling characters keep the viewer engaged. The chemistry between them is endearing and loving, with the dark, deadpan comedy and lighthearted tone offering a pleasant shift from what I anticipated to be a serious film. While the movie could have used more growth in their relationship, they were absolutely delightful together. Even the supporting characters are well-written and enjoyable to watch, especially Sasha’s relatives, with the unique dynamics of a vampire family offering constant amusement throughout the story. The film explores existentialism, human connection, and the pursuit of meaning in life through a blend of dark comedy, quirky storytelling, and a spooky atmosphere. Humanist Vampires Seeking Consenting Suicidal Person takes a novel approach to the vampire genre with a story that feels like fresh blood. The film features one of the best titles in recent years and provides such a fun experience that it’s a must-watch.

15. MadS – David Moreau

MadS, helmed by the talented French filmmaker and writer David Moreau (who also co-directed and co-wrote the 2006 horror film Them), is an impressive zombie horror film that takes audiences on a wild ride through its innovative storytelling and daring creative choices. In France, Romain (Milton Riche), a wealthy teenager, visits his drug dealer to consume and purchase cocaine for a night of hard partying. On his way home, he encounters a strange woman who has no tongue or teeth and carries a tape recorder, which reveals that she has been the subject of experiments and has been infected. Just as Romain is about to drop her off at the hospital, she repeatedly stabs herself, leading Romain to believe she is dead, resulting in him taking her home. He leaves the woman in the car and goes to take a shower to wash off the blood; when he returns, the woman is nowhere to be found, and this is only the start of a long, horrific night filled with blood and terror.

MadS is filmed in a single take or cleverly edited to appear that way through invisible cuts. The main reason behind this is to depict the real-time transformation of a person as they contract the virus and begin to exhibit symptoms, altering their behavior as it unfolds. The film’s first half, notably when recounted from Romain’s point of view, is absolute chaos, with unrelenting tension-building and unpredictability. He faces a series of events while battling symptoms from the infection, including the disappearance of a strange woman, relationship troubles with his girlfriend, Ana (Laurie Pavy), an affair with Ana’s friend, Julia (Lucille Guillaume), a rushed trip home to disable his alarm, and the military’s invasion of his house. With so many things happening one after the other, the one-take approach amps up the energy and the drama and makes us understand what Romain is going through every step of the way.

The film eventually shifts its POV twice more after Romain, and despite concerns about plot repetition and the monotony of the single-take technique, Moreau skillfully maintains control over the script, expertly building tension by letting shots breathe and pacing key moments effectively, resulting in a deeply immersive experience. Moreau’s bold one-shot filming approach in MadS sets a new standard, delivering a familiar story with such energy and confidence that viewers easily forget the 88-minute film was captured in a single take with no visible cuts—a remarkable technical achievement worthy of admiration. I cannot wait to see what he does next.

14. Late Night with the Devil – Cameron Cairnes, Colin Cairnes

Read the full review here

Late Night with the Devil, written, directed, and edited by an Australian filmmaking duo, Colin and Cameron Cairnes, is a spooky, original supernatural horror film whose innovative creative style will keep you engrossed for most of its runtime. On October 31, 1977, Jack Delroy (David Dastmalchian), Johnny Carson’s adversary, hosts a syndicated talk show, “Night Owls,” a reliable friend to insomniacs nationwide for many years. A year after the devastating death of Jack’s wife, the show’s ratings have plunged. Jack organizes a Halloween special unlike any other in a last-ditch effort to change his luck. He brings together an eclectic group of guests, including the psychic named Christou (Fayssal Bazzi), a former magician turned paranormal skeptic, Carmichael the conjurer (Ian Bliss), and a parapsychologist and author, Dr. June Ross-Mitchell (Laura Gordon), who brings a young girl named Lilly (Ingrid Torelli), whom she claims to be possessed by a demon called Mr. Wriggles—unaware that he is about to unleash evil into American living rooms.

The film’s inventive shooting style (found footage while they’re on TV and handheld with saturated colors for behind-the-scenes action) and methodical introduction of the three guests, who are all progressively more interesting than the previous, manage to hold your interest for the most part. The screenplay deftly navigates the whole supernatural vs. scientific debate, leading to some of the film’s most spooky scenes, including June’s conjuring, which results in Mr. Wriggles gaining control of Lilly, followed by Carmichael’s counter, where he hypnotizes Gus and everyone, causing Gus to hallucinate worms coming out of his stomach due to his fear of them.

Additionally, Otello Stolfo’s meticulous production design—particularly of the late-night set—and the time’s fashion choices (such as Gus’ p**n mustache, bell bottom jeans, or Jack’s sideburns) effectively take viewers back to the 1970s. Jack, smoothly portrayed by David Dastmalchian, has a charming screen presence and is an ideal fit for the position of TV host. His character is well-written, with the backstory about his wife’s death making us empathize with him, but he is also greedy and willing to go to any length to boost his show’s ratings, regardless of the consequences, making him a fascinating and multifaceted personality that keeps us invested in him. Although the surprise reveal towards the end was somewhat predictable and obvious, the film is wildly entertaining and highly recommended for its singular experience.

13. Bramayugam – Rahul Sadasivan

Building on the success of his remarkable sophomore feature, Bhoothakaalam (2022), Rahul Sadasivan impresses once again with Bramayugam, cementing his reputation as a director to look out for. In 17th century Kerala, India, Thevan (Arjun Ashokan), a novice singer from the Paanan caste of folk singers, barely escapes from slavers and ends up lost. During his escape, he encounters a spooky household in the middle of the forest, where a seemingly benevolent master (Mammootty) and his servant (Sidharth Bharatan) reside. The master welcomes him, but it quickly becomes evident that he is an evil goblin from mythology known as Chaathan, who has assumed the master’s identity. This creature from the dark enslaves anybody who enters the house and makes them lifelong servants. The story delves into whether Thevan and the servant can escape the goblin’s grip.

The film offers a fully immersive experience that will make you feel trapped in that dreadful mansion alongside the characters in it. The striking black-and-white cinematography, exceptional production design, haunting score, and moody lighting effectively transport you to that era, creating an atmosphere where escape feels almost impossible. As a result, while the film’s twists and turns might not work for everyone (as you can see them coming from a mile away), the suspense surrounding Thevan and the servant’s escape kept me riveted to the screen. Additionally, the film’s compelling and well-ingrained mythology adds depth and intrigue that enhance the film’s appeal. Bramayugam explores the themes of greed and power, which, although superficial, serve the plot well. With this film, Mammootty extends his impressive run of experimentation, constantly reinventing himself, even after over fifty years in the industry. He delivers a dominating and scary performance as Kodumon Potti, and his screen presence alone is enough to scare the s**t out of anyone. Bramayugam displays Rahul Sadasivan’s tremendous evolution as a director, and I can’t wait to see what he does next.

12. Strange Darling – JT Mollner

Strange Darling, directed by JT Mollner, is an exhilarating, intelligently twisted horror-thriller that ranks among the year’s most gratifying theater experiences. On their date night, a man (Kyle Gallner) and a woman (Willa Fitzgerald) talk to each other in his car in front of a motel. They smoke, drink in the car, and talk about having sex and the regulations around it. They eventually decide to go to the motel room to have sex, and a twisted one-night stand turns into a serial killer’s brutal murder spree.

The film unfolds in six chapters presented non-linearly, seemingly designed to highlight the major plot twist at its midpoint. As a result, the twist proves effective and piques my interest in how everything will play out in the end. The film looks exceptional and bright thanks to Giovanni Rabisi’s kinetic cinematography, which was shot on 35 mm, and it’s a nice change of pace from all the dark cinematography I’ve been encountering in other horror films while compiling this list. The lively camera work during action scenes perfectly complements the steady wide shots, helping you immerse yourself in the gritty atmosphere. The film is sexy (it explores erotica in a contemporary way and discusses the concept of consent), funny (especially the breakfast scene, which I will not forget anytime soon), and an intense roller coaster that keeps going at a high speed and doesn’t veer off course once. Kyle Gallner is exceptional as The Devil, but Willa Fitzgerald’s career-boosting performance as The Lady stands out. Even if the last ten minutes don’t live up to the promise held by the rest of the film, I’m not complaining because it’s still a fantastically crazy, wacky, and entertaining ride.

11. The First Omen – Arkasha Stevenson

The First Omen, directed by Arkasha Stevenson, is a well-crafted nunsploitation horror film that serves as a fitting origin story for the beloved The Omen franchise. In 1971, amidst the political upheaval in Rome, a pious American novitiate named Margaret (played by Nell Tiger Free) eagerly travels to the city to take her vows. Instead, she encounters an evil darkness that causes her to question her faith and stumbles upon a sinister conspiracy that hopes to bring about the birth of an evil incarnate.

The film’s story is so terrifying that it doesn’t have to rely on jump scares to terrify the audience every 10 seconds. The screenplay also includes a few twists and turns, which yield mixed results, particularly after repeated viewings. However, Aaron Morton’s cinematography evokes the 1970s and keeps the tension high throughout, from the riot scene to the iconic breakdown scene (which is reminiscent of Andrzej Zulawski’s Possession, 1981) or the contentious birth scene at the end, all of which contribute to the film’s unsettling atmosphere and disturbing imagery.

The first Omen was released around the same time as another nunsploitation film, Immaculate, starring Sydney Sweeney; both films deal with body horror and partly function as the commentary on anti-choice dysphoria and religious subjugation (considering the anti-abortion laws and the whole Roe vs. Wade scenario in the US). However, The First Omen is relatively superior to Immaculate because it has a terrifying premise, leans harder on the nunsploitation campiness, is well-shot, has better character development (especially the lead character), and is consistently more disturbing. As Margaret, Nell Tiger Free shines and gives a performance that is up there with the best leading lady turns in horror films of the year. The First Omen is a slow-burning, unsettling experience that will provide some solid chills and be a treat for fans of old-school horror films.

10. Stopmotion – Robert Morgan

Stopmotion is Robert Morgan’s deliriously nightmarish directorial debut that utilizes the beauty of stop-motion animation to produce a unique and horrifying experience. Renowned stop-motion animator Suzanne Blake (Stella Gonet), suffering from arthritis, relies on her daughter Ella (Aisling Franciosi) to finish her latest film, subjecting her to overwork and mistreatment. When Suzanne has a stroke and dies, Ella vows to complete her mother’s film. Instead, she embarks upon a journey of crafting a new movie, which turns into a manifestation of her crumbling sanity, with the animated characters seeming to come to life as she struggles with her inner turmoil.

The film expertly delves into the internal struggles of an artist, including their obsession with their art, self-doubt, and plagiarism. These doubts and the insecurities they foster propel artists into the rabid holes of self-destruction. As a result, Ella embarks on a journey that spirals into madness, experiencing frequent hallucinatory episodes. Although the hallucination scenes could have been more powerful, they do not detract from the film overall, and Morgan does deliver some visceral imagery that will linger in your mind long after the credits roll.

With its impressive practical effects, including enlarged puppets, full-sized creatures, and gruesome kill scenes, the film delivers enough gore and eerie sounds to unsettle viewers. In the end, the art completely consumes the artist, driving her to extreme lengths to prove herself, including using dead meat, a dead animal carcass, killing, or even self-destruction (in one scene, she opens her wounds and reaches inside to remove flesh). Even though her character isn’t fully fleshed out on paper, Aisling Franciosi delivers a skin-crawling, committed performance in which she completely surrenders to her character’s mental disintegration. While stopmotion is not for everyone, those who enjoy the slow burn with a dash of horror may find it worthwhile to watch.

9. Sleep – Jason Yu

Jason Yu makes an assured directorial debut with Sleep, a well-constructed, expertly executed, slow-burn psychological horror film. Newly married Hyeon-Soo (Lee Sun-Kyun) and his pregnant wife Soo-Jin (Jung Yu-Mi) are preparing to welcome their first child. One night, she notices Hyeon-soo sleepwalking and acting strange, which is out of character for him. What begins as some light sleep-talking problem quickly escalates into unexpectedly erratic behavior. They try everything, from seeing a doctor to a shaman, but nothing works. As a result, the wife must figure out how to stop her husband’s terrifying sleepwalking before he hurts himself or his family.

Quickly setting the stage, the film introduces Hyun-Su’s sleepwalking condition in the opening scene, where he utters the terrifying words “someone’s inside” while dreaming, which horrifies pregnant Soo-Jin. As the film progresses, his sleepwalking behavior becomes more erratic and nightmarish, with him scratching his face until it bleeds, eating raw meat and eggs, and even attempting to jump out the window. In addition, the film excels as a marital drama thanks to the incredible chemistry between Lee Sun-Kyun and Jung Yu-Mi, a charming couple who make the audience wish that nothing bad would happen to them.

As Hyun-Su’s condition shows no improvement after their baby is born, Soo-Jin, acting on her mother’s recommendation, consults a shaman who declares that Hyun-Ki is possessed by a ghost, introducing a fascinating supernatural element to the plot. At this point, the focus shifts from Hyun-ki to Soo-jin, whose behavior has become increasingly volatile and out of character—possibly a metaphor for postpartum depression. By introducing the supernatural element, the film becomes ambiguous, becoming a psychological vs. supernatural conflict, and the creators maintain that ambiguity by presenting both possibilities as possible through convincing arguments, setting up an intriguing climax. Lee Sun-Kyun gives a believable performance as Hyun-ki in one of his last roles before his tragic death. Jung Yu-Mi delivers a powerful performance as a wife and mother, masterfully capturing the challenges of handling her husband’s unstable health and safeguarding her baby while effectively embodying her character’s emotional descent.

8. Infested – Sébastien Vaniček

Read the full review here

Sébastien Vaniček’s directorial debut, Infested, is a sleek, suspenseful, and well-crafted film that flawlessly blends horror with an emotionally riveting human drama. Kaleb (Theo Christine), a 30-year-old hustler and exotic animal lover, lives with his sister, Manon (Lisa Nyarko), in a rundown Paris apartment. When he brings home a poisonous spider and it escapes, the deadly creature starts killing residents and rapidly growing in size. When the police place the building under quarantine, chaos ensues, and survival becomes a desperate struggle. Kaleb, Manon, and their friends must confront the escalating danger and find a way out before it’s too late.

The opening sequence of Infested depicts a group of men in the desert searching for a spider when one of them gets bit and dies a horrible death. This scene adds to the suspenseful first act by giving the audience more information about the spider’s fatal potential than the characters, keeping us frightened about Kaleb’s safety and making us anxious to see what happens next. Considering the entire plot unfolds in a single apartment, the production design is commendable for its meticulous attention to detail. The film’s tight alleys and tiny houses help build tension, and the limited lighting and narrow stairs further add to the claustrophobia, which is later perfectly utilized when the spiders are in full attack mode.

The action sequences, which are brutal, intense, and urgent, particularly those towards the end, are expertly staged and shot and handled with elegance by the debutant director, who manages to convey everything with utmost clarity by cleverly utilizing the low-budget and limited settings. As the film enters survival horror mode, it delivers several high-intensity moments, including a harrowing escape via a spider-infested garage and a desperate flashlight-guided rush to the terrace to avoid the spiders. The film’s strength lies not only in its stunning and constant tension but also in its character development. Each character has a unique, multifaceted personality, and the more these characters find themselves in increasingly dangerous situations, the more we learn about their true selves and the dynamics they share, causing us to empathize and root for their survival.

7. Exhuma – Jang Jae-Hyun

Upon my initial viewing of Exhuma, I was not particularly impressed by the film, possibly due to my expectation that it would be in the same vein as The Wailing (2016). However, upon rewatching, I am fascinated with this dense folk horror that is culturally specific and takes bold narrative choices that mostly succeed. Park Ji-Yong (Kim Jae-cheol), a wealthy Korean American family patriarch, hires renowned Korean shaman Hwa-rim (Kim Go-Eun) and her student Bong-gil (Lee Do-hyun) to diagnose his newborn son’s mysterious illness. Upon investigation, Hwa-rim finds out that the baby has a curse called “Grave’s call,” a spirit of a vengeful ancestor who is haunting them. As a result, Hwa-rim seeks advice from her coworkers, a Feng shui expert, Kim Sang-deok (Choi Min-sik), and a mortician, Yeong-geu (Yoo Hae-jin). To break the curse and appease the spirit, they plan to dig up the ancestor’s grave and recolate it, little realizing that doing so will unleash terrible consequences hidden beneath.

The film has an intriguing and unique premise that can be divided into two parts. The first chapter focuses on the paranormal experts dealing with the vengeful spirit of the affluent Korean-American family’s grandfather, who wishes to destroy his family bloodline and is dissatisfied with his incorrect burial at a strange location on top of a mountain near the North Korean border. Exhuma delivers several terrifying moments as the team tries to deal with the grandfather’s spirit, including the scene where Ji-Yong is tricked by the ghost at a hotel room—deceiving both him and the audience—and the tense sequence where the ghost tries to kill the newborn child.

Exhuma takes an unexpected turn in its second half, delving into a topic with deep cultural and historical resonance—the horrors committed against the Korean people under the Japanese occupation. As a result, the story gets even more intense, with the team battling with an even bigger and more dangerous opponent than the vengeful grandfather’s spirit as the stakes rise, setting for a thrilling, disorienting, and impactful climactic finish. Furthermore, the shamanistic ceremonies, akin to the exorcism scenes in Hollywood films, are just as horrifying, frightening, and energetic, complete with drums, dance, singing, and various colors. With such a dense narrative, the film could have easily veered off course, but the director’s solid grasp of the story and the affable characters maintain the intrigue over the entire 134-minute duration.

6. Oddity – Damien Mc Carthy

Read the full review here

With Oddity, Damien Mc Carthy returns after his acclaimed debut Caveat (2020), delivering a spine-chilling supernatural horror experience. Dani Odello-Timmis (Carolyn Brecken), the wife of a psychiatrist, Ted (Gwilym Lee), is brutally murdered in the country house she has recently acquired.
A year later, Ted has moved on and now lives with his new girlfriend, Yana (Caroline Menton), in the same house. One day, Darcy (Carolyn Becker), Dani’s twin sister and a blind clairvoyant with psychometric abilities, unexpectedly arrives at Ted’s house carrying a large box containing a wooden mannequin. Even though everyone has given up, Darcy continues to investigate her sister’s murder. As a result, her relentless search for the truth brings her face to face with evil forces at work, laying the groundwork for a shocking conclusion.

The film masterfully sustains intrigue around Dani’s demise by disguising the murder mystery as a supernatural horror thriller. The first half is captivating and intense, representing some of the most impressive horror filmmaking I’ve seen this year. What we can take away from Caveat is his mastery of utilizing horror tropes and establishing an unsettling atmosphere, both of which he executed flawlessly in Oddity. The unsettling static long takes by cinematographer Colm Hogan (which manages to evoke tension and unease), paired with dim lighting and the production designer’s strange, eerie house that evokes a sense of isolation, create a genuinely menacing experience. As a result, the film’s first two acts are expertly paced, with Mc Carthy providing multiple WTF moments, leaving you gasping for breath. Carolyn Becker masterfully plays Dani with playful ease and Darcy with a quiet, enigmatic unpredictability, making her portrayal both engaging and occasionally unnerving. Despite the film’s shortcomings in character development and the shallow relationships that undermine the motivation behind the crime and the killer’s reveal, it still offers a fulfilling viewing experience that won’t leave viewers too disappointed.

5. The Devil’s Bath – Veronika Franz, Severin Fiala

Directed by Veronika Franz and Sebastian Fiala, The Devil’s Bath is a visually stunning period horror that provides a haunting exploration of the human psyche, making it one of the year’s most unexpected horror gems. In 1750 Austria, Agnes (Anja Plaschg), a profoundly religious woman, marries her beloved, Wolf (David Scheid), envisioning a life of happiness, love, and the dream of raising a family. However, her joy quickly fades as her husband withholds affection, her domineering mother-in-law imposes constant pressure, and her existence becomes defined by an exhausting cycle of chores and societal expectations. As a result, she spirals deeper and deeper into an inner prison of dark thoughts, to the point where the prospect of committing a shocking act of violence appears to be her only escape.

Based on events in 18th-century Austria, the horror they elicit is so unsettling that you don’t need a devil or any other supernatural entity to scare you off. The Devil’s Bath delves into the topics of religious salvation and the lengths people went to for redemption, alongside a rare exploration of mental health and gender dynamics in the 18th century. It’s a detailed character study of Agnes, who begins as a cheerful and playful newlywed who aspires to lead a happy life, become a mother, and be a good wife to Wolf, but ultimately transforms into a shattered, despairing woman, stripped of all happiness and left only with pain, loneliness, and sorrow. As a result, her behavior becomes increasingly erratic and disturbing, particularly in sequences where she sleeps near a decapitated woman (killed for dropping a baby off a waterfall, with her body and severed head displayed as a grim warning at the altar), takes in a stranger’s child from the woods, and begins to consume rat poison slowly.

The progression of her character is deeply unnerving, where the clash between religion and mental health creates a toxic mix unlike anything else that will make you think and feel grateful for living in the 21st century. Her sense of powerlessness and loneliness, which eventually drives her mad or to her downfall, is convincingly portrayed and justified. Adding to that, the excellent cold and absorbing cinematography, paired with a minimal but haunting score, creates an immersive, melancholic, and despairing atmosphere throughout the film. Anja Plaschg gives a stellar performance as Agnes, skillfully capturing the emotional turmoil within her character throughout the film. Her performance during the powerful confession scene is nothing short of phenomenal.

4. Red Rooms – Pascal Plante

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With Red Rooms, Canadian filmmaker Pascal Plante presents a haunting and unique take on serial killer films that is both gripping and unsettling. The film begins with the high-profile trial of Ludovic Chevalier (Maxwell McCabe-Lokos), charged with the gruesome murders of three teenage girls by mutilating them and broadcasting their deaths on Red Rooms, a chat room on the dark web where users pay to view snuff films. A successful fashion model and online poker player with extensive dark web knowledge, Kelly-Anne (Juliette Gariépy) is fascinated by the case and attends the high-profile trial. As her obsession grows, the boundary between reality and her disturbing fantasies begins to dissolve, compelling her to go into the murky depths of the dark web in her pursuit of the case’s crucial clue.

The screenplay delves into the aftermath of the three teenage girls’ murders and the media frenzy that ensues. The film examines how media sensationalism impacts public opinion and distorts justice, creating different factions, with some seeking the truth and others blindly protecting or denouncing the guilty based on speculation rather than facts. Red Rooms offers an in-depth character study of Kelly-Anne, who exemplifies extreme detachment by living in isolation with no meaningful human connections and whose obsession and morbid curiosity with true crime consume her, blurring the lines between fascination and obsession.

Additionally, Kelly-Anne’s motives remain ambiguous—whether she admires or detests Chevalier—adding to the film’s suspense, culminating in a tense courtroom scene where she tests Chevalier’s reaction by dressing as a victim. The film’s unique perspective focuses on digital sleuthing rather than traditional crime-solving, with tense sequences highlighting Kelly-Anne’s technical prowess and emotional detachment. From steady tracking shots to chaotic movements, the evolving camera work mirrors Kelly-Anne’s descent into paranoia and loss of sanity. Without showing actual bloodshed, the film creates a chilling atmosphere through the portrayal of the murderer and his actions, as well as the hype created surrounding the brutality of the tapes. Juliette Gariépy, who plays Kelly-Anne, an isolated human being driven by self-destructive tendencies, drives the film with a gripping and icy performance. Do not miss this gem.

3. I Saw the TV Glow – Jane Schoenbrun

I Saw the TV Glow, directed by Jane Schoenbrun, is an awe-inspiring and one-of-a-kind existential horror film that will drive you to think and reflect and will stick with you for days after you’ve watched it, making it one of the finest films of the year. The film follows the story of Owen (Justice Smith) and Maddy (Brigette Lundy-Paine), two high school students who form an unlikely friendship over a supernatural teen show, The Pink Opaque. The show follows the adventures of two psychic teens, Isabel (Helena Howard) and Tara (Lindsey Jordan), respectively, as they face off against the time-bending monsters brought to life by Mr. Melancholy. After Maddy’s mysterious disappearance, she reappears in Owen’s life years later, telling him that she has been inside the show for eight years, that the world he knows isn’t real, and that he isn’t who he is supposed to be. Owen’s life is on the line after Maddy’s revelation, with the potential to either tear him apart or give him the freedom he has long sought.

The film revolves around a couple of confused teenagers grappling with their sense of identity, unsure of where they fit in and characterized by their socially awkward and eccentric personalities. As a result, they look to television to make sense of who they are, seeking relatability through what they see on screen. Maddy and Owen’s fixation on The Pink Opaque show highlights the role of media in defining personal identity and altering how we perceive reality. As the film progresses, the boundaries between the real world and the fantastical realm of The Pink Opaque blur, offering Maddy and Owen a chance to finally embrace their identities, transition into their true selves, and find their place, leading to a devastating and heartbreaking finale.

At its core, I Saw the TV Glow is a story about the struggle to embrace one’s true self while highlighting the more profound fear of becoming trapped in an identity that is not one’s own. The unsettling scenes are not those in which Owen gets violently sucked into explosive parts of a TV screen, but rather his panicked realization of how much time he has lost living a life that dissatisfies him. As Maddy, Brigette Lundy Paine brilliantly captures the angst and awkwardness of adolescence, and Justice Smith does a superb job of conveying the confusion, isolation, and loneliness he experiences in this world. This film is not for everyone; however, its hallucinatory and disorienting visuals elicit a sense of gloom and unease, while the narrative taps into deeply ingrained human fears and anxieties, creating a haunting experience.

2. Nosferatu – Robert Eggers

Robert Eggers extends his streak of outstanding films with Nosferatu, delivering a hauntingly beautiful and highly unsettling experience that solidifies his reputation as a modern-day horror master. In the 1830s, Ellen Hunter (Lilly-Rose Depp) makes a desperate plea for companionship to alleviate her pain and loneliness, resulting in the formation of a strong psychic bond with Count Orlok (Bill Skarsgård), a malevolent vampire who develops an intense desire for her. Several years later, Ellen weds her beloved Thomas Hutter (Nicholas Hoult), and the two settle down in the German town of Wisburg. Thomas, a real estate agent, travels to Transylvania on business to facilitate a property deal with none other than Count Orlok, unknowingly setting the stage for the vampire’s arrival in their hometown. Upon arriving, Orlok spreads a deadly plague, plunging the town into chaos and despair while demanding Ellen’s submission to prevent further tragedy for those she loves. As a result, Ellen must make a difficult decision to stop the vampire’s wrath.

Though Nosferatu clocks in around 130 minutes—far too long for a horror film—Eggers’ conviction and control over the story keep us hooked throughout, despite most of the viewers knowing how the story ends. Each scene leaves a lasting impression, with striking visuals and unforgettable imagery brought to life by Jarin Blaschke’s stunningly dark and haunting cinematography, evoking a sense of dread so vivid you can almost smell the decay oozing from the screen. In addition to the eerie atmosphere that the film successfully sustains throughout, the terror that Orlok inflicts throughout the film is genuinely chilling (the sight of his hand’s shadow floating through the city or the image of him lying in his coffin is enough to send a chill down your spine).

Nosferatu tackles themes of obsession, the supernatural, and the ripple effects of unintended actions. Beyond its scares, the film thrives on a compelling emotional core—the complex love triangle between Ellen, Thomas, and Orlok. Eggers crafts these characters with depth, making Ellen’s conflicting fear and attraction to Orlok tangible, while her pure and heartfelt bond with Thomas keeps us rooting for their happy ending. Lily-Rose Depp delivers her career-best performance as Ellen, physically and emotionally surrendering to the role. Bill Skarsgård is exceptional as Orlok, and his aura is unparalleled, stealing the spotlight whenever on screen. Finally, Nicholas Hoult is fantastic as Thomas, the man who will stop at nothing to protect the woman he loves. Hoult has had a tremendous year, delivering outstanding performances in Juror#2 and The Order, proving once again that he is an actor of great versatility. The film is a must-see for gothic horror fans.

1. The Substance – Coralie Fargeat

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The Substance, Coralie Fargeat’s sophomore feature, is wild, sexy, stylish, and an incredibly grotesque Sci-Fi body horror masterpiece that takes the crown of 2024’s best horror film. On her 50th birthday, Elisabeth Sparkle (Demi Moore), a once-famous but now-fading Hollywood celebrity, is fired from her long-running Aerobics TV show by her shady producer, Harvey (Dennis Quaid), to make room for anyone younger. After being dumped due to her age, Elisabeth is devastated and decides to use The Substance, a black market drug that temporarily transforms her into a younger and improved version of herself, whom she names Sue (Margaret Qualley). According to The Substance’s instructions, Elisabeth is only allowed to activate her younger self once, and she and her other self must switch off every seven days, with no exceptions. Sue thrives and succeeds because of her good looks and young age, whereas Elisabeth becomes more introverted and insecure. As a result, their tension causes them to break the rules, resulting in deadly consequences.

The film’s first act focuses on Elisabeth’s situation, followed by her discovery and use of The Substance. Despite Fargeat’s deliberate pace, the world she builds around Elisabeth, the drug’s rules and mechanisms, and the detailed depiction of Sue’s conception from Elisabeth’s body all constitute a captivating viewing experience. Sue’s presence injects new excitement into the story. Margaret Qualley, as Sue, is young, beautiful, sexy, and energetic, and she lights up the screen. Fargeat deliberately depicts closeups of Sue’s intimate, scantily clad body parts to represent the male gaze. As the film progresses, Sue revels in her vitality while Elisabeth’s mental and physical state worsens, causing her to withdraw and drown in self-hatred. Eventually, their animosity grows into an all-out hate fest, setting the stage for a bonkers and over-the-top action scene and highlighting Fargeat’s action direction chops, which she had earlier shown in Revenge (2017).

Additionally, the film explores how beauty standards impose a fear of aging on women, leading them to go to great lengths to fit into society’s judgmental ideals. The film’s casting couldn’t have been better, with Dennis Quaid turning in his finest performance in a long time as a sleazy producer and the seductive Margaret Qualley playing Sue, who plays the role to perfection. However, this is Demi Moore’s film. Her raw performance perfectly conveys the anguish of a woman coping with self-loathing, societal rejection, and the longing to be accepted. It’s a wild ride not to be missed.

The Substance movie links: Wikipedia, Letterboxd

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