17 Best Horror Movies On Kanopy

Staff & contributors

Ready to unleash your dark side? Whether you’re craving the shock of a jump scare, zombies and vampires or want to get sucked into a psychological thriller, here are the best horror-themed movies and shows to stream now.

A zombie virus breaks out and catches up with a father as he is taking his daughter from Seoul to Busan, South Korea’s second-largest city. Watch them trying to survive to reach their destination, a purported safe zone.

The acting is spot-on; the set pieces are particularly well choreographed. You’ll care about the characters. You’ll feel for the father as he struggles to keep his humanity in the bleakest of scenarios.

It’s a refreshingly thrilling disaster movie, a perfect specimen of the genre.

Pan's Labyrinth director Guillermo del Toro creates another haunting movie that leaves you questioning your sense of reality. El Orfanato revolves around a mother tries desperately to find her missing adopted son soon after her and her husband move into her old orphanage. But the past horrors of the orphanage will not let her son be found so easily.

Antoneta Kastrati’s debut feature film Zana follows Lume, who appears guarded and subdued as she goes about her daily routine: milking the cows, harvesting crops and flowers, hanging laundry out to dry. Part of Lume’s routine also includes visits to the doctor, accompanied by her mother-in-law and husband, who pressure her to conceive.

When conventional medical advice does not yield a viable pregnancy, Lume is brought to a witch doctor, and later a televangelist. The former suggests Lume may be cursed, while the latter insists she is possessed by a supernatural creature called a jinn. Lume appears largely apathetic, at least outwardly. But slowly, she starts to unravel—and with her undoing comes the reveal of the war that traumatized her. 

Kastrati’s family drama has elements of horror, but the real terror here is psychological. It makes for an important exploration of a deeply patriarchal society that is only beginning to heal the collective traumas of a complicated war, and how its violence continues to ripple through time and into domestic life. 

 

This mortifying stop-motion fairy-tale is inspired by the very real horrors of Chile’s Colonia Dignidad: a cult colony turned torture camp under the Pinochet regime. Presented as colony propaganda, the tale tells the story of Maria, a girl who runs away from the safety of the colony into the forest and takes refuge in a house with two pigs. What transpires is a gut-wrenching allegory for the rise of fascism, colonialism, and white supremacy. 

The staggering animation which seamlessly shifts mediums from paper mâché to painted walls is a bewildering sight to witness. But it’s the synthesis of this boundary-pushing art and the underlying horrors it depicts, that make this stand as an unmissable cinematic event.

Perfect for Halloween marathons with friends, The Return of the Living Dead treads the now well-worn template of zombie apocalypse movies with outstanding practical effects and a refreshingly unserious attitude. What the film might lack in terms of character writing or deeper themes, it more than makes up for with a relentless forward momentum. There isn't any grand mission to be accomplished when these morticians collide with a group of young punks, other than understanding what drives the undead creatures outside in order to survive the night. As a result, this is a movie that lives firmly in the moment, with thrills aplenty and its greatest moments found in the freaked-out reactions of its ensemble cast. The late James Karen, with his hilariously exaggerated hollering and whimpering, only nearly steals the show from the film's wonderful animatronics and disgusting prosthetic makeup. It's a great zombie movie for the reluctant horror newbie.

Horror movies have always been creepier to me when they play on our fear of the “unknown” rather than gore. Under The Shadow does exactly that. The story is based around the relationship of a woman, Shideh, and her daughter, Dorsa, under the backdrop of the Iran-Iraq war. As widespread bombings shake the ground beneath their feet, the two grapple with a more insidious evil that is faceless and traceless, coming and going only with the wind. The movie’s dread-effect plays strongly on feelings of isolation and helplessness. The scares are slow and it’s obvious the director takes great care in making every single second count and in raising the unpredictableness of the action. Like the bombs, the audience never knows when or how the next apparition will materialize. The former is always on the edge of fear, wondering what is no doubt there, but is yet to be shown on the frame. In terms of significance, Under The Shadow features too many symbolisms to count and will most likely resonate with each person differently. But one thing remains relatively unarguable: this is a wonderful movie.

Robert Pattinson and Willem Dafoe are the only two actors starring in this eccentric movie, and they deliver such grand performances that it feels like another actor would have been one too many.

They star as lighthouse keepers in the 19th century, left on an island to interact only with each other and their rock. It's a fascinating premise of how these men, left on their own, deal with boredom, loneliness, and being annoyed with one another.

Incredible performances, an interesting aspect ratio, and perhaps excessive weirdness, make this movie unforgettable.

You may have heard about this 2019 critic-favorite from clips like this one of a kid running to flee the movie theater during a screening. “little billy ran the f**k out the door”, the caption reads.

You will want to do the same. Recovering from losing her sister and her parents in a single incident, a young girl goes on a trip to Sweden to observe a ritual within a bizarre commune that occurs every 90 years. This cult’s idea of death and their traditions intersect with the girl’s grief to create unthinkable monstrosities.

Note: while some readers praise the movie for its depiction of anxiety, I highly recommend against watching Midsommar if you suffer from panic attacks.

The Innocents is a Norweigan thriller that follows four kids who discover they have supernatural powers over the summer. They play around and experiment in the woods nearby, but what begins as harmless fun quickly develops into something much more disturbing and sinister.

This unnerving film, a blend of fantasy and horror, doesn't waste time explaining the origins of its mysticism. Instead, it goes straight into action—bending, twisting, and splitting open anything and anyone that gets in its way. This kind of rawness is shocking given the age range of the characters, but it also works to subvert what we've come to expect from kids, youth, and goodness. The Innocents isn't for the faint of heart, but if you can manage some bloody and unhindged scenes, then it's sure worth checking out. Directed by Eskil Vogt, co-writer of critically-acclaimed films like Thelma and The Worst Person in the World

In an age where recent horror films mostly use the jump-scare as a crutch to make their CGI-spawned (not to mention generic) creatures seem scary, The Babadook portrays real scares, relatable characters and a moving story. Jennifer Kent (director and writer) sets this on the backdrop of heavily Lars von Trier-inspired cinematography, elevating The Babadook from a shot at an amazing horror to a resemblance of an art house film. The unease felt during this film only increases as it creeps towards its conclusion. Whenever the Babadook (the monster of the film) is seen lurking in the peripherals of the camera, appearing in television sets and the shadows to create a sense of omnipresence that disturbs the viewer on a deeper, more primal level than that of so many recent horror films could even hope to reach. It leaves the audience with the sensation that they are being lowered onto a lit candle, spine-first. In short; the seamless acting, the beautiful shots, the slow-burning terror together creates a masterpiece that strides past any horror film of the past decade (maybe even further) and stands toe-to-toe with the greats without even breaking a sweat.

This is the follow-up film by the director of the (also) excellent and intense Blue Ruin. Like that film, Green Room often subverts genre expectations. The basic premise: a lefty punk band winds up taking a show at a skinhead club because they are desperate for cash. The show goes well, but afterward the band accidentally witnesses something they shouldn’t have and are trapped in the club’s green room. This film is brutal and intense, especially because you actually care about what happens to the characters. Bonus: Sir Patrick Stewart plays the leader of the skinhead organization, and gives a subtle yet effectively sinister performance. While some truly horrific acts of violence occur (especially in the back-half of the film) they really do serve the story. Still, there are a handful of scenes that may require more sensitive viewers to cover their eyes. You have been warned.

In rural Korea a policeman starts to investigate peculiar and violent events that most of the people in his village attribute to the arrival of a new Japanese resident. As the occurrences keep multiplying, and different perspectives in the film are shown, you start to lose touch with reality in the face of what can only be described as genius film-making. As critic Jada Yuan puts it, the film operates on a level “that makes most American cinema seem clunky and unimaginative”. For this reason, and while The Wailing is a true horror flick with a great premise, it’s also more than just that: it boosts a mind-boggling, interesting plot that will have you thinking about it long after the credits roll. Protip: grab the person next to you and make them watch this movie with you so you can have someone to discuss it with after!

Somehow an art house film, horror, and romance all in one, Let the Right One In explores the boundaries of its genres with unprecedented finesse, and offers a stunning alternative for those disappointed with recent vampire love stories. From its haunting minimalist imagery to its incredible score, it is persistently beautiful. The film follows twelve-year-old Oskar and Eli, drawing on numerous aspects of traditional undead lore, and still manages an impressive feat in feeling entirely fresh and devoid of cliche. Those in search of a terrifying movie might need to look elsewhere, but if what you're looking for is simply a great watch, don't pass this one up.

Much like the 1976 horror classic Carrie, Thelma centers on a young telekinetic woman whose religious upbringing and sexual repression give way to unpredictable moments of fury and rage. When she meets the cool, charismatic Anja, she falls in love immediately, but the wave of emotions that overwhelm her threaten to destabilize not just their budding romance, but other relationships and lives as well. 

Thelma recalls Carrie in other ways too, most notably in the way it uses supernatural elements to allude to female fury and lust, but it also stands on its own as a singular piece of work; the mesmerizing transitions, the slow-burn pace, and the undercurrent of melancholia are all known trademarks of director Joachim Trier. This layering of old and new makes Thelma an intriguing watch, at once recognizable and wholly original. 

 

Taking the Frankenstein story to its low-budget '80s extremes, Re-Animator finds lots of dry humor and gory thrills in the simple story of a mad scientist in medical school. But instead of any Frankenstein's monster terrorizing the university, it's the hubris of man and their arrogance in denying the inevitability of death that constantly threatens every other innocent person in the film. The scare to minute ratio here is refreshingly low, meaning Re-Animator isn't driven by a need to manipulate audiences, but by the primal thrills of fake guts and blood—and a sharp, snarky performance from Jeffrey Combs.