20 Scary Movies on Netflix this Week (June 26th-30th, 2024)
Even though Halloween is over, scary movies on Netflix this week will always be enjoyable. There are films in Netflix’s library spanning all major genres, except horror, which is well-represented.
The best horror films available on Netflix are an incredibly diverse assortment of cinematic nightmares that will satisfy even the most discerning horror moviegoers while offering plenty of thrills and chills.
To improve matters, it remains steady each month with intriguing new releases that offset the loss of films from the service.
Best Scary Movies on Netflix this Week
Below are Scary Movies on Netflix This Week. Scan through and pick the one that mostly interests you.
1. The Wailing
Yes, there is a lot of weeping to be heard here, but in just two words, Na subtly foreshadows how his audience will respond to the somber scenes depicted in the film of a country experiencing spiritual turmoil.
Na deals more in uncertainty and, in particular, despair than in what we would consider “horror.” He’s not trying to scare us.
In the same way that his protagonist’s faith erodes because of going through both heavenly and demonic trials for the movie, he seeks to destroy our souls.
2. It Follows
It Follows is plagued by the spirit of Old Detroit. It feels like Metro Detroit—in an aging ice cream shop on 12 Mile, in the ranch houses of Ferndale or Berkley built in the 1960s, in a game of Parcheesi dominated by white teenagers with nasal, bland accents.
The film It Follows thrives in the margins; it’s not so much about the horror that slams into your face as it is about the deeper anxiety that lurks just beyond the edge of awareness.
Set aside the dangers of adolescent indiscretions; It Follows is a profound allegory of maturing.
3. The Babadook
Given that this is a horror movie and that strange things happen on an increasingly terrifying scale, it makes sense to categorize Kent’s story of a troubled single mother and her young son with genre labels.
However, The Babadook is so multi-layered, so intricate, and just so damned dramatic that it would be insulting to try to box it in. What Kent has done here and what most of us would consider horror are very different.
The first week following the event will be spent sleeping with the lights on. Along with being provoked and enriched, you will depart.
4. Train to Busan
Whether you like them or not, zombies are a staple of the horror genre and can be trusted enough to keep an eye on your conductor.
That was Train to Busan in 2016, which is now included in our list of the 50 Greatest Zombie Films Ever Made. There’s no need to guess: Train to Busan would have been on the list.
This gripping popcorn entertainment and deeply moving family drama are combined in this South Korean tale of a career-focused father trying to save his young daughter on a train full of raging zombies.
5. His House
Few things sap the terror more than horror films that play it safe. There are many ways that movies can frighten viewers, but at its core, a horror film should just be frightening rather than lighthearted.
His House by Remi Weekes is not one to play around. Within ten minutes of the film’s tragic beginning, the director, who leaves ghosts scattered across the stairs and on the floor for the protagonists to trip over handily outclassed The Grudge.
In the end, this film is about the unavoidable inherent grief of immigrant stories; it’s a companion work to modern independent films, which brutally and neorealistically captures the perils immigrants face both en route and once they arrive at their destination.
6. The Haunting of Hill House
The Haunting of Hill House’s style works well both as a clever adaptation of Shirley Jackson’s beloved novel and as horror television.
The creatures that lurk behind the walls, including ghosts and monsters, are either barely visible or hidden by shadows.
To create unease and inconsistency, the series even reverts to some of the camera movement and shot design choices made in the original film adaptation.
7. The Fall of the House of Usher
Nobody else in this room can extract the kind of real-life nightmare fuel that is far, far scarier than any monster under the bed by tapping into our most secret desires and deepest emotional fears. This is what Mike Flanagan does.
Flanagan’s deeply human horror universe is a sight to behold, with stories that tackle everything from issues of faith and belief to falling in love and what it means to truly die.
Poe references of all kinds, from character names to full-blown poetry recitations, abound in the episodes, and the series’ overarching plot mirrors the author’s lifelong preoccupation with themes of obsession, delusion, guilt, and death.
8. Midnight Mass
Every islander on Crockett Island in Midnight Mass feels a great deal of misfortune. The recent oil spill, which severely damaged the island’s local fishing economy all but destroyed the fish supply. Their houses peel and splinter from being exposed to the elements of the ocean.
Few people remain on the island after the majority left because of a lack of opportunity. They can only get to the mainland via two ferries. There isn’t much hope, and a big storm is approaching.
Beyond that, anything said about this seven-episode series would be considered a major spoiler, but even with its forays into the paranormal, Midnight Mass is a show that digs inward rather than reaching out.
9. Creep
Creep is the directing debut of Brice, who also released this year’s The Overnight, and is a somewhat predictable but cheerfully demented little indie horror film.
It features the incomparable Mark Duplass in the lead role of a character study of two men: a gullible videographer and a somewhat insane recluse who hires the former to come to record his life in a cabin in the woods.
It depends solely on its outstanding performance. Duplass, who occasionally plays quirky and endearing roles in films like Safety Not Guaranteed, excels in this role as the insane man who intrudes into the protagonist’s life and follows him around.
10. X
A decade removed from an earlier life as an “up and coming,” would-be horror auteur who has spent the last ten years mostly working as a mercenary TV director, director Ti West makes a stunning and unexpected comeback to form with X.
It is the most spectacular comeback to the horror genre in recent memory to make such a grand return as an A24 remake of the iconic slasher movie, meant to be the first of a new trilogy or even more.
X is a brilliant blend of the pleasantly known and the wildly exotic; while its structure is instantly recognizable, its theme, richness, and satisfaction are deeper than those of nearly all of its contemporaries.
11. I’m Thinking of Ending Things
A lot of viewers will consider ending Not long after it begins, I’m thinking of ending things. The interior of a farmhouse, apartment, or the interior of an interior is depicted in a cross-dissolve series of rough shots.
We are essentially in the middle of the story when a woman we haven’t seen yet tells us something for which there is no background. It has an unsettling, wrong vibe. There’s a problem. This is not how films are meant to be made.
At last, the woman, expertly portrayed by Jessie Buckley, comes into view. She appears to be standing on the street in a three-dimensional snow globe as fluffy snowflakes begin to fall. She turns to face a window several stories above.
12. Crimson Peak
By design, Crimson Peak adheres to gothic romance conventions. It’s a work of fiction that she wrote specifically for The Atlantic Monthly.
He’s been drawn in by the story with just a glance. “Ghosts,” he says, his lips twisted into a mysterious smile. Unlike when she speaks with her peers, Edith doesn’t have to give up her love of ghost stories when she speaks with him.
She can accept them for what they are. Crimson Peak can also do so. Del Toro is obsessed with the gothic romance’s production elements; he loves the pomp, the setting, and the costumes.
13. Cabinet of Curiosities
It makes sense to question how much of Netflix’s new Cabinet of Curiosities is truly a Guillermo del Toro creation when you first see it.
The streaming service offers to host the horror anthology series, but can the individual episodes live up to their association with a well-liked director?
Does GDT’s involvement in the writing of the two episodes suffice to give the series his signature? And is there a comparable degree of virtuosity in those other episodes’ artistic rendering?
14. Creep 2
The film Creep did not beg for a continuation. The 2014 film, about one of the more unusual serial killers in cinema history, was sufficiently self-contained.
However, Creep 2 is that uncommon follow-up where the objective appears to be “let’s go deeper”—and by deeper, we mean much deeper—rather than “let’s do it again.”
The movie pretty much abandons the concept of being a “horror movie,” staying in that category only because of the crimes Aaron has committed in the past, it transforms into a much more intimate interpersonal drama about two people who are testing the limits of trust and vulnerability.
15. Thanksgiving
Thanksgiving, which is quite endearing, is a full-length extension of Roth’s fictitious trailer that aired before the 2007 Grindhouse double feature starring Quentin Tarantino and Robert Rodriguez.
Growing up in Newton, Massachusetts, and having a deep love for horror and slasher movies, Roth and his childhood buddy Jeff Rendell would often dream of the day when a horror movie with a Thanksgiving theme would finally come out and bring pride to Massachusetts.
The fact that Roth’s wish was fulfilled 16 years after the Thanksgiving teaser and that the resulting movie is easily his best since Knock Knock (2015) makes it all the more delightful.
16. Fear Street Part 1: 1994
The first movie in Netflix’s three-part adaptation series of R. L. Stine’s Fear Street quickly establishes itself as a much bloodier and more vicious beast than any of the more recent family-friendly Goosebumps movies.
Fear Street: 1978 and Fear Street: 1666 will delve deeper into some mysteries surrounding 1994’s slasher culture, while also serving as a diversion from it.
All that’s left is a movie that does a good job of outlining its mythology, helped along by likable side characters and a great deal more graphic violence than most viewers would have anticipated.
17. Gerald’s Game
Gerald’s Game, directed by Mike Flanagan, strips away some of the strangest elements of Stephen King’s book to reveal the core themes.
The end product is a taut, impactful thriller that makes a special effort to showcase two excellent performers in an unrestricted celebration of their craft. For Flanagan, whose recent work in the horror genre has been impressive, this is nothing new.
Some of the recurrent themes in his work are difficult to ignore; they start with Absentia (2011) and continue through the incredibly inventive Oculus, Hush, and Ouija: Origin of Evil.
18. Oats Studio – Vol. 1
Neill Blomkamp, the director of District 9, has a series of experimental sci-fi and horror short films that were first posted on YouTube in 2017. These films appear to be ideas for future feature films.
Blomkamp created Oats Studio as a project to test out some of his wilder ideas and conduct practical VFX testing; each of the studio’s major projects is extremely impressive in its own right.
In the science fiction film Rakka, human survivors of Earth are forced to fight telepathic reptilian aliens in vain while in Firebase, a soldier faces off against a “River God” who warps reality in a military conflict involving southeast Asia.
19. Apostle
Apostle serves as the general public’s introduction to Welsh director Gareth Evans’ visceral filmmaking techniques, following the success of his first two The Raid entries, which solidified him as a monolithic figure among action movie fans.
The apostle might as well stand in for Evans’ ambition to be recognized as a legitimate visual director and auteur, given that his early works resembled video game visuals.
To accomplish this, he has ventured into familiar territory with the rural “cult infiltration movie,” which inevitably leads to comparisons with films like The Wicker Man or even Ti West’s The Sacrament.
20. The Platform
The strength of the Platform’s straightforward, high-concept idea and all the unnecessary details that are kept from the audience are huge advantages.
It doesn’t matter that we don’t exactly know why people are imprisoned in this evil, vertical structure; all that’s needed is a daily supply of food, which comes as a grossly piled-high, steadily descending stone slab filled with perishables.
We also don’t need to understand the workings of this social experiment, though it’s probably intended to pique our interest when we see chefs laboring over flawless dishes that will eventually be served to the unfortunate prisoners.