Found-footage horror movies are a relatively niche subgenre, but they form an important part of the landscape. Bringing documentary-style realism to terrifying tales of psychological and supernatural scares, these movies have earned a place in the hearts of horror fans everywhere. And since realism is one of the genre’s key aspects, it’s not surprising that the best found-footage horror films are often the ones unfiltered enough to earn an R rating.

These are not the movies you want to watch with impressionable viewers, though some company may still be advisable. From landmark classics to contemporary favorites and more obscure, even divisive gems, here’s our ranked selection of some of the best R-rated found-footage horror movies ever made.

8

‘As Above, So Below’ (2014)

Image via Legendary Pictures

Written and directed by John Erick Dowdle, As Above, So Below follows a documentary crew as they explore the Paris Catacombs in search of the philosopher’s stone. Instead, they find supernatural horrors inspired by Dante Alighieri’s nine circles of Hell. The film stars Perdita Weeks, Ben Feldman, Edwin Hodge, François Civil, Marion Lambert, and Ali Marhyar.

As Above, So Below holds the rare distinction of being the first film shot in the actual Catacombs of Paris. The movie was critically panned when it first premiered, but it had a decent box office run and developed a cult following after its streaming release. Sure, some parts of the film are a bit campy, but it’s still a great horror adventure with an immersive set-up, a good cast, and a claustrophobia-inducing setting that it utilizes to full effect. It’s not a movie for everyone, but it’s an underrated horror flick that will definitely convince you never to go exploring around caves and/or human remains.

7

‘The Taking of Deborah Logan’ (2014)

Image Via Eagle Films/Millennium Entertainment

Directed by Adam Robitel in his directorial debut, which he co-wrote with Gavin Heffernan, The Taking of Deborah Logan is a found-footage supernatural horror film that follows three students in Virginia. Trying to make a documentary about Alzheimer’s patients, they discover a sinister force when they encounter an elderly patient named Deborah Logan (Jill Larson). Anne Ramsay, Michelle Ang, Ryan Cutrona, Anne Bedian, and more appear in key roles.

A fresh spin on the possession horror genre, The Taking of Deborah Logan is a surprisingly psychological film that effectively uses standard found-footage tropes to explore the title character’s troubled mental state. Further elevated by Larson’s chilling performance, it’s a disturbing and spooky movie with a gripping plot you can’t look away from (even when you really want to). The movie received a smattering of accolades, including a Fangoria Chainsaw Award nomination, but it has remained largely underrated despite its expertly crafted horrors.

6

‘Hell House LLC’ (2015)

Image via Shudder

Written and directed by Stephen Cognetti, Hell House LLC may sound (and even look) like a real documentary, but it is a work of fiction. The faux-doc investigates an incident in the small upstate New York town of Abaddon, which is haunted by the mysterious deaths of 15 visitors and employees in one night at a mysterious hotel, which was set up as a haunted house attraction called (you guessed it) Hell House. Trying to find the real cause of their deaths, the “documentary” crew uncovers photographs, film footage, and the only known survivor, who finally reveals the truth about what happened.

A supernatural horror mystery, Hell House LLC is a chilling and effective addition to the found-footage subgenre that makes for the perfect Halloween watch. It’s technically unrated, but it certainly deserves an R. The film premiered at the 2015 Telluride Horror Show, earning generally favorable reviews. The movie has since expanded into a franchise with the release of four sequels: Hell House LLC II: The Abaddon Hotel (2018), Hell House LLC III: Lake of Fire (2019), Hell House LLC Origins: The Carmichael Manor (2023), and 2025’s Hell House LLC: Lineage, the final film in the series.

5

‘V/H/S/94’ (2021)

Image via Shudder 

V/H/S/94 is a found-footage horror anthology that’s the fourth installment in the V/H/S franchise. A soft reboot of the series, the film consists of four segments directed by Chloe Okuno, Steven Kotzanski, Simon Barrett, Timo Tjahjanto, and Ryan Prows, linked by a frame narrative written and directed by Jennifer Reeder. The stories, conceived by franchise returnees David Bruckner and Brad Miska, include a SWAT team raiding a warehouse, a TV news report about an urban legend, a funeral home worker hosting a nighttime wake, a man whose body has been replaced with robotic spider-like legs, and a group of white supremacists plotting a terror attack through supernatural means.

The V/H/S franchise is a favorite among horror fans, and V/H/S/94 is often hailed as the best of the series. The movie premiered at the 2021 Fantastic Fest to critical acclaim and was later released as a Shudder Original Film, opening on the streaming service to record viewership numbers. Gory, gritty, and technically proficient, the film is a near-perfect horror anthology without a single weak segment in its collection.

4

‘Creep’ (2014)

Image via The Orchard 

Directed by Patrick Brice in his directorial debut, Creep is a found-footage psychological horror film co-written by Brice and Mark Duplass, who also star in the main roles. The film follows Aaron (Brice), a videographer who is hired by the eccentric Josef (Duplass) via an online ad to film his daily life for his unborn son. It’s an odd job, but once Aaron arrives at his client’s remote home, he begins to discover just how strange his client really is, and the situation quickly transitions into a violent, bizarre nightmare.

A found-footage thriller with a sharp twist, Creep has earned praise within the horror community for its well-written story and compelling performances. Drawing inspiration from classic stalker films like Misery and Fatal Attraction, the film’s biggest highlight is Duplass’ creepy titular antagonist, a performance that proves his acting talents are just as good as his filmmaking skills. The movie was critically acclaimed for its unique take on the slasher horror genre, and its success led to the release of a sequel, Creep 2, and a television series spin-off, The Creep Tapes, with a third film currently in the works.

3

‘Rec’ (2007)

Image via Filmax

Co-written and directed by Jaume Balagueró and Paco Plaza, Rec is a 2007 Spanish found-footage zombie movie starring Manuela Velasco as reporter Ángela Vidal. The film follows Ángela and her cameraman Pablo (Pablo Rosso) as they accompany a group of firefighters to an apartment building, where they discover a terrifying infection and are trapped inside when the authorities order a strict quarantine. Ferrán Terraza, Jorge-Yamam Serrano, David Vert, Vicente Gil, Martha Carbonell, Carlos Vicente, and more appear in supporting roles.

Widely regarded as one of the best found-footage horror films of all time, Rec premiered at the 2007 Venice International Film Festival to critical acclaim and became a commercial success after its theatrical premiere in Spain in November of the same year. It’s a contained, nightmarish film that puts audiences on a rollercoaster of terror. The movie earned several accolades, including two Goya Awards, and spawned three sequels: Rec 2, Rec 3: Genesis, and Rec 4: Apocalypse. An American remake, Quarantine, was released in 2008.

2

‘The Blair Witch Project’ (1999)

Image via Artisan Entertainment

Written, directed, and edited by Daniel Myrick and Eduardo Sánchez, The Blair Witch Project is a 1999 psychological horror movie that’s easily one of the most successful independent films of all time. The movie stars Heather Donahue, Michael C. Williams, and Joshua Leonard as three students who hike into the Appalachian Mountains to shoot a documentary about a local legend and find an unexpected supernatural power waiting for them.

The Blair Witch Project premiered at the 1999 Sundance Film Festival to critical acclaim. Audience reactions during its theatrical run were quite divided, but the film still became a sleeper hit, grossing nearly $250 million globally. The movie has since expanded into a multimedia franchise that includes novels, comics, video games, and two sequels. A terrifying found-footage movie that’s arguably the best work ever made in its genre, the film has had a lasting influence on horror cinema, inspiring countless subsequent films.

1

‘Incantation’ (2022)

Image via Netflix

Inspired by a real case of mass hysteria reported in Taiwan, Incantation is a surreal Taiwanese found-footage film directed by Kevin Ko. Tsai Hsuan-yen stars as Li Ronan, a mysterious woman who asks the viewers to help save her young daughter from an ancient curse. The film’s events unfold in a non-linear fashion, revealing that six years ago, Li Ronan broke a religious taboo and accidentally unleashed the curse of a malevolent mountain deity, which now threatens to kill her child.

A truly unique take on found-footage horror, Incantation is easily one of the most inventive films ever made in the genre, drawing viewers into the story and its supernatural terrors. The film was highly acclaimed when it premiered in March 2022 and became Taiwan’s highest-grossing horror movie of all time. With compelling performances, intricate world-building, and an intensely creepy narrative, the film is easily one of the best horror movies of the 21st century so far, and it has earned a number of awards as well.

Release Date

July 8, 2022

Runtime

110 Minutes

Director

Kevin Ko

Writers

Che-Wei Chang, Kevin Ko

• 

  Hsuan-yen Tsai

  Li Ruo-nan

• 

• 
  

The first time I watched The Shining was the most scared I’ve ever been watching a horror movie. It takes a lot for a horror movie to actually scare me. Jumpscares, gore, killer clowns — none of that really gets to me. Watching horror movies is how I fall asleep. But something about The Shining unsettled me. It wasn’t Danny creaking out the words REDRUM while holding a knife about his sleeping mother or the rotting corpse in room 237 or the ghostly twins asking Danny to come and play. It was the scene of Jack taunting and stalking Wendy up the stairs of The Overlook Hotel while she sobs, weakly swinging a baseball bat. By that point, I’d seen more than my share of actresses being terrorized by monsters and killers. But this was different. It felt wrong.

Years later, I would find out about the abuse Shelley Duvall suffered at the hands of Stanley Kubrick during filming. Kubrick forced her to cry anywhere from nine to twelve hours a day, keeping her body in a state of constant stress and fatigue in his quest for “realism.” When recalling that experience, Duvall said: “After a while, your body rebels. It says: ‘Stop doing this to me. I don’t want to cry every day.’ And sometimes just that thought alone would make me cry. To wake up on a Monday morning, so early, and realize that you had to cry all day because it was scheduled — I would just start crying.”

The scene of Wendy clutching a baseball bat trying to protect herself from her deranged husband was shot 127 times. Duvall screamed until her throat went raw, ending her days exhausted and severely dehydrated. Crew members reported her panicking to the point of collapse. Chunks of her hair fell out. Kubrick kept pushing. That terror and exhaustion came out in the scene. It’s terrifying because a woman was terrorized.

Duvall’s performance as Wendy Torrance went on to make The Shining one of the most famous horror movies of all time, the baseball bat scene often labeled as the scariest moments in the entire film. I’ve spoken with plenty of film nerds and horror freaks who know about Kubrick’s abuse and defend him, saying that by pushing her so hard he helped her enact a performance she wouldn’t have been able to achieve otherwise. Some of them point to the interview clips where Duvall herself says that what she experienced made the movie better. Few of those people have been ready to acknowledge the horrifying standard actresses are told they have to put up with or the power Kubrick held over Duvall’s career.

I’ve been thinking about Shelley Duvall a lot over the past year and about the expectation that suffering is a part of creating great art. It’s something I used to believe when it came to my own writing practice. My story isn’t like Duvall’s. She went through hell at the hands of a director on a power trip after a set vision. I stopped taking care of myself because I thought that’s what it meant to be serious about writing.

I spent my teens and early twenties trying to figure out the dramatic pendulum swings of my depressive episodes and anxiety. I ran towards the things I thought would make me feel and be better. Some of it did: friendships, knowledge, embracing a system of values. Much of it didn’t: leaning into mania, drinking when I wasn’t in a place to control it, pursuing relationships that didn’t work. All throughout that time, I held onto the belief that someday my writing would make all of the shit my brain was doing worth it. Wasn’t everyone whose work I admired also really fucking sad?

In the fall of 2022, I thought I was on the road to becoming the writer I’d always wanted to be. I had gotten a TAship and a spot at an MFA program where I could put my work at the center of things. This was my shot. I had a novel burning inside me and a need to be as productive as possible. And I was. Those two years were the most generative of my life. My world tightened into the triangle of campus, work, and my studio. When I wasn’t at work, I was on my laptop. When I wasn’t on my laptop, I was running, accumulating hundreds of miles with no days off, often getting sick after spending hours in the rain or snow. I gave up doing the things I knew helped me manage my anxiety and isolated myself as much as possible. I could feel myself starting to fall apart, but I had a book and it was coming together. That was what I had always wanted. Art is sacrifice.

In the summer of 2024, I graduated and moved to California to take a job as a high school English teacher. I soon learned that teaching at a high school was completely different from teaching at a university. Grading, lesson planning, tutoring, and coaching seemed to eat away all of my time and energy. I wasn’t producing in the same way I had. A hum of anxiety started to rise inside me. I had heard about plenty of writers who never figured out how to establish a writing practice outside of their MFA program. I had promised myself I wouldn’t let that happen.

But as the year progressed, I could feel something inside me shifting, my love for my students somehow growing louder than my anxiety over not writing enough. Each day, they remind me of the good, of the possibility that we can fight to live in a different kind of world, the kind they all deserve. Seeing them makes me want to grow, to be capable of creating a space where they get what they need to thrive. It’s not always easy. Most of my work days are over ten hours long and involve being “on” the entire time. It didn’t take long for me to realize that if I wanted to show up as the best version of myself for my kids, I would have to start taking better care of myself. I go to bed early and make myself eat three meals a day with the fuel I need to sustain myself (turns out popcorn is not a meal). I’ve replaced my endless obsessive quest for mileage with a set running routine and strength training program that’s actually about my health (shoutout Autostraddle writer Stef Rubino, who is also my strength coach). This is the happiest I’ve ever been in my life. And it changed how I approach art.

Suffering doesn’t need to be part of the process of creation. I didn’t need to be sick or unhappy or lonely to write my novel. I needed to be dedicated. Because yes, art is sacrifice. It requires time. It requires commitment. But our art needs to be grounded in our humanity, our care for ourselves and of each other.

I’ve now come to see my teaching and my writing as one united practice. Caring for students and my classroom community is part of my commitment to my craft. Teaching makes me a better writer and writing makes me a better teacher. In thinking this way, I’ve expanded what I see as writing: listening to students tell me about their days, running with them during practice, helping them write their essays before school. These writing practices are combined with a dedication to preserving the time I make for sitting alone with my work. One of the most helpful pieces of advice I’ve read considering the question of how to write while maintaining a time and energy intensive job came from a Substack called Fight Week written by Florida writer Laura van den Berg. She writes:

A routine is not a rigid list of requirements; it is a spectrum of activity that can be adapted as needed. Which is to say that routine is less about the specific actions taken and more about a steadiness of presence. Routine is a form of self-hypnosis, a way to imagine ourselves as capable of whatever feat we are attempting. Every time we abide our routine we put a stone in the path to the place we are trying to reach.

People aren’t machines, and most of us don’t have consistent hours of uninterrupted time. We have to adapt. Even if I can’t write every day, I make myself think about my work every day. I read. I study sentences. I observe people. On the weekends, I park myself at the library. I think about myself as a writer and writing as a part of my job.

I recently went back and rewatched The Shining. I didn’t feel terrified like I did the first time. I felt angry, and I felt sad. Later that night, I went through more of Duvall’s interviews. Reflecting back on her experience filming The Shining Duvall said, “I will never give that much again. If you want to get into pain and call it art, go ahead, but not with me.”

Shelley Duvall should never have had to go through what Kubrick put her through. No movie is worth that.

I wish Duvall had been taken care of on set and given the space to embrace her practice as the talented actress she was. I wish the stories we tell ourselves about art and human-value were different. I wish I didn’t sometimes want to stop taking my SSRI’s because I’m afraid they’re making me less creative. I wish we better honored artist’s mental health instead of expecting constant creative output. I wish we thought more about art in tandem with community.

And I wish we all collectively hated Stanley Kubrick a little (lot) more.

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As Blumhouse celebrates 15 years of bringing horror to audiences, studio head Jason Blum looks back on some of his biggest triumphs (M3GAN) and misfires (M3GAN 2.0) in a new interview, which also draws out some of his more recent regrets—and his plans and hopes for the future. One thing we won’t be seeing, apparently, is a Blumhouse take on The Texas Chain Saw Massacre after the company came up short in the recent IP bidding war.

“We were in the mix. The deal isn’t closed, but we probably won’t get it,” Blum told Variety; the trade noted that A24, with a producing team that includes Glen Powell, is the clear frontrunner. There’s no elaboration on what a Blumhouse Texas Chain Saw might have looked like, but Blum noted, “I like taking IP that people are cynical about and turning expectations on their head.”

That definitely happened with 2018’s Halloween—though the excitement over David Gordon Green’s reboot trilogy faded with each new entry, and Blumhouse is no longer steering the good ship Michael Myers. “We don’t own the rights anymore. I had a three-picture deal,” Blum explained, though he’s not closed off to future opportunities: “I would do another Hallo­­w­een movie.”

A franchise Blumhouse does have in its stable now is Saw, though there are no firm details yet on what shape that long-running series will take next. “It’s really hard to make 10 movies in a franchise—I don’t take that away from the original series’ producers. And I’m grateful to them for allowing us to continue,” Blum said. “My creative outlook is what I always preach: get the people who made the magic in the first place more involved. James Wan [the original director] will be hugely involved. That’s how we’re going to reinvent it.”

As for Blum’s dream projects… can you guess? Take a wild guess.

“Friday the 13th and Freddy Krueger, those are my two white whales,” he told Variety, which pointed out the rights for both Friday and A Nightmare on Elm Street are tied up elsewhere.

“We’re always haggling. I make a run at them every day. I will never give up the quest,” Blum said. (Presumably that means he’s talked to team Jason Universe.) “And if they make one without me, I’ll chase the next movie.”

Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

We’ve already told you about 60 queer horror shows and movies available to stream this month, but perhaps you were overwhelmed by such a monstrous list. Perhaps you need your very own horror host to point you in the right direction. Perhaps you want the stars to tell you what queer horror to watch. I’ve got you! By combining our astrologer G’s queer horoscopes for Libra season with my encyclopedic knowledge of queer horror, I’ve put together a straightforward guide on which horror movie you should prioritize watching this month, based on your sun sign and what the astrological season has in store for you. Presenting: HORRORSCOPES.

Horoscopes can be a useful way of understanding ourselves and working toward personal growth based on our present strengths and weaknesses; horrorscopes, meanwhile, can let us avoid that personal growth by reveling in our own mess and embracing our more, ahem, evil sides . And doesn’t that sound more fun?!

Aries: The Strings

Streaming on AMC+ and Shudder

You’re encouraged to slow down a bit this Libra season but without dampening your flame altogether. Slow-burn horror may therefore be the way to go. Consider The Strings, a work of arthouse horror that Drew Burnett Gregory describes as “the slowest of slow burns.” In it, a queer musician heads to a remote cabin following a romantic breakup and a band breakup.

Taurus: Perpetrator

Streaming on AMC+ and Shudder

G writes that “belonging” is a big theme for you for the whole year, Taurus. You’re also craving the recognition you deserve. Perhaps you should check out this very underrated and deserving of recognition Jennifer Reeder film, Perpetrator, about a young queer girl in a town where girls keep going missing.

Gemini: Bad Things

Streaming AMC+ and Shudder

You’re feeling off in your routines and in serious need of some mental stimulation. How about a long weekend trip to a remote hotel with a group that includes your girlfriend and your ex? That is indeed the premise of the excellent Shining-esque horror film from Stewart Thorndike, Bad Things.

Cancer: Midnight Kiss

Streaming on Hulu

“The past month has likely highlighted something you want or need to shift about your social landscape,” G writes. As you reevaluate your friend group, perhaps you could dive into this gay slasher flick about the horrors of co-dependent gay friend groups.

Leo: Cuckoo

Streaming on Hulu

You’re supposed to be practicing healthy detachment this month, so how about moving to a resort town in the Bavarian Alps for a bit? That’s how the Hunter Schafer-starring Cuckoo begins, and for sure nothing will go wrong…

Virgo: The Other Side of the Underneath

Streaming on AMC+, Shudder, Tubi

You’re supposed to honoring the unknown, Virgo. Well, I can’t think of a queer horror film more apt for embracing the unknown than the surreal and disturbing The Other Side of the Underneath from Jane Arden.

Libra: I Saw the TV Glow

Streaming on HBO Max

You’re supposed to be saying yes to the things lighting you up right now and be generally discerning about where you give your energy. I would argue the protagonist of Jane Schoenbrun’s beloved queer/trans horror film I Saw the TV Glow is not particularly good at this and is ultimately haunted by regret. So let Owen’s story be a warning to you to indeed protect yourself and your energy.

Scorpio: Annihilation

Streaming on Paramount+ and Tubi

You’re supposed to touch grass this month. That grass probably isn’t supposed to be part of a biologically mutated natural world, but alas! Head into The Shimmer! G writes you should “lean into embracing physical, sensory experiences,” and I can’t think of a more sensory experience than what the characters of Annihilation go through…

Sagittarius: Good Manners

Streaming on Tubi

You’re supposed to be making space for variety this month, and it doesn’t get much more variable than a domestic horror monster movie that’s also somehow a musical and lesbian romance?

Capricorn: Scream VI

Streaming on Paramount+

You’re supposed to be connecting the dots this month…much like the characters of Scream VI have to connect the dots of the latest round of Ghostface kills.

Aquarius: We’re All Going to the World’s Fair

Rent on Apple TV ($4.99) or Prime ($4.99)

You’ve perhaps been experiencing some weird dreams and lots of intense feelings from your subconscious that require processing. So why not watch this surreal, isolating, and often nightmarish slow-burn horror movie? It’s very unsettling! Perhaps its quiet intensity can be a brief break from the quiet intensity of your own inner world right now.

Pisces: Jennifer’s Body

Streaming on Disney+, Hulu, and Tubi

You’re supposed to be continuing to consider your relationship to conflict and setting boundaries. Two characters who do NOT do that? Jennifer and Needy of Jennifer’s Body. They definitely could have benefited from some introspection on how they deal with conflict, but I’m so glad they didn’t! Because wow do I love how toxic their friendship is!

Before you go! Autostraddle runs on the reader support of our AF+ Members. If this article meant something to you today — if it informed you or made you smile or feel seen, will you consider joining AF and supporting the people who make this queer media site possible?

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Horror is a staple on nearly every streaming service, but what if you’ve seen all the important classics and are looking to venture a little further afield? One way to keep mainlining your favorite villains and settings is to dive into sequel territory. Not all horror sequels are created equal, but for every misguided cash grab, there’s a cult classic waiting to be rediscovered. Head to Peacock, home of next year’s Crystal Lake prequel series, to check out these 10 horror sequels.

Halloween II

We’ve had Halloween II on the brain thanks to the upcoming Strangers: Chapter 2, which imperils the Final Girl anew as she’s trying to recover from the first film’s horrific attack. That’s not unlike Laurie Strode’s ordeal in 1981’s Halloween II, which shows us what happens once she checks into Haddonfield’s local hospital—a facility with a horny staff and not many existing patients, where Michael Myers easily tracks down that troublesome babysitter and continues his stalking rampage. Watch on Peacock.

Halloween III: Season of the Witch

The only film in the Halloween series not to feature Michael Myers as the killer—he does get a blink-and-you’ll-miss-it cameo, though—Halloween III is a wonderfully bonkers tale involving a witchy plot to massacre scores of children using cursed Halloween masks powered by Stonehenge-adjacent witchcraft and activated by an irritatingly catchy commercial jingle. It also features one of the least likely horror-movie heroes ever, as well as one of the booziest. Watch on Peacock.

The Exorcist III

The first Exorcist is an influential masterpiece. The second Exorcist teeters between “so bad it’s good” and “no, seriously, what were they thinking?” But The Exorcist III, written and directed by Exorcist book author William Peter Blatty (and, as pop culture will have us believe, beloved by Jeffrey Dahmer), is a deeply distressing tale that both picks up the threads of William Friedkin’s original film and creates its own specific nightmare. It also has one of the greatest jump scares in cinematic history, so searing that even if you know it’s coming, you’ll still flinch. Watch on Peacock.

Day of the Dead

Make sure you click on the 1985 version from George A. Romero; Peacock also has the forgettable 2008 remake. Zombies are still roaming the earth in this third entry in Romero’s classic trilogy, but in this military-focused entry, you can definitely see why it’s time for humankind to consider bowing out. Wonderful gore further elevates the story, as does the endearing undead dude Bub, an eternal fan favorite. Watch on Peacock.

Terrifier 2 and 3

The saga of Sienna the warrior angel versus the maniacal Art the Clown takes shape in Damien Leone’s second and third Terrifier movies, which back-to-back equal some four and a half hours of circus-tinged mayhem and cruel brutality. The kill scenes are always the main attraction, but part three in particular introduces some intriguing Art lore that Leone has said he’ll further explore in the upcoming fourth film. Watch on Peacock: Terrifier 2 and Terrifier 3.

Son of Frankenstein

Most horror fans have watched the classic Frankenstein and Bride of Frankenstein. But as we await Guillermo del Toro’s fresh take on Mary Shelley’s literary creation, why not watch the third film in that original series? Released in 1939, Son of Frankenstein stars Boris Karloff as the revived Monster, Bela Lugosi as the diabolical Ygor, and Basil Rathbone as Baron Wolf von Frankenstein. As the title suggests, he’s Henry Frankenstein’s son, and he ill-advisedly decides it’s his job to restore the family reputation. Watch on Peacock.

Child’s Play 2

Chucky may have been burned to a crisp at the end of 1988’s Child’s Play, but you can’t keep a killer doll down—especially one hellbent on claiming a human body by any means necessary. The sequel brings back kid actor Alex Vincent as Andy Barclay, giving him a tough foster sister (Christine Elise) and cementing one of horror’s best sibling duos. It also takes on the corporate jerks behind the Good Guy doll line, which gives the film reason to skewer big business and build to an inspired climax in a Chucky-filled toy factory. Watch on Peacock.

Amityville II: The Possession

There are now over 50 movies purporting to be part of the Amityville film series, including several parodies and in-name-only entries. But back in 1982, just a few years after The Amityville Horror “true story” book, Amityville II did its best to continue the success of the first film by offering a prequel of sorts to its events. While the famous haunting was later debunked as a hoax, there was a real-life tragedy behind the ghost story, and Amityville II digs into the family massacre—with the expected sensational supernatural twist, of course.  Watch on Peacock.

Phantasm: Ravager

The final Phantasm film was released in 2016 and reunited original stars A. Michael Baldwin (Mike Pearson), Reggie Bannister (Reggie), and Angus Scrimm (the Tall Man)—the latter sadly passing away before the film hit theaters. While the original Phantasm will always be the best entry, not to mention one of the purely weirdest horror movies ever made, this farewell entry offers a blend of “one last time” nostalgia as well as its own extremely freaky dream-world adventures. Watch on Peacock.

Scream 4

Wes Craven’s Scream 4 is sort of the odd man out of his Scream series. It was released in 2011, 11 years after Scream 3 and 11 years before the series’ revival with Scream in 2022. It follows Sidney Prescott, self-help author, as she returns to Woodsboro, where Ghostface launches a fresh series of attacks, with Sidney’s teenage cousin at the center. Scream 4 is not unaware of its odd place in the continuity, poking fun at excessive sequels with glimpses of the in-universe Stab series having reached parts six and seven—and it’s well worthy of rediscovery. Watch on Peacock.

Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

The Adventures of Cliff Booth, a sequel to Quentin Tarantino‘s 2019 hit Once Upon a Time in Hollywood, is now in production. However, this time David Fincher is directing Tarantino’s script, a rare occurrence for the pop-culture-obsessed auteur. In fact, Tarantino hasn’t had another director film one of his feature-length scripts since 1996, when Robert Rodriguez helmed From Dusk Till Dawn. And that crime movie-horror flick hybrid has a new streaming home — it’s coming to Paramount+ in September.

The project, a pulpy mix of tense crime drama and supernatural horror, had an unusual genesis. The concept for the story came from special effects and makeup artist Robert Kurtzman, who would go on to direct Wishmaster. In 1990, he paid Tarantino $1,500 USD in exchange for a commitment to hire Kurtzman’s team as the makeup artists for Reservoir Dogs; it was Tarantino’s first paid writing gig. Kurtzman wanted to direct From Dusk Till Dawn, but had trouble finding studio backing, so Tarantino recruited Robert Rodriguez to helm it. The film has a connection with some later Tarantino works: Michael Parks plays Texas Ranger Earl McGraw, a role he’d later reprise in Kill Bill and both segments of Grindhouse.

What Is ‘From Dusk Till Dawn’ About?

Criminal brothers Seth (George Clooney) and Richie (Tarantino) Gecko are on the run from the law. Desperate to make it to Mexico, they hijack an RV and its passengers, the Fullers: father Jacob (Harvey Keitel), daughter Kate (Juliette Lewis), and son Scott (Ernest Liu). After crossing the border, they stop at a roadside strip club, the Titty Twister, to meet their contact. However, once the sun goes down, the bar turns out to be full of monstrous, bloodthirsty vampires, including Santanico Pandemonium (Salma Hayek) and Razor Charlie (Danny Trejo). The Fullers and Geckos join forces with fellow patrons Sex Machine (Tom Savini) and Frost (Fred Williamson) to barricade themselves in a back room and try to survive the night.

From Dusk Till Dawn was a financial and critical success, earning $59.3 million on a $19 million budget, and garnering a 65% Fresh rating on Rotten Tomatoes. It spawned the direct-to-video sequel From Dusk Till Dawn 2: Texas Blood Money, and a DTV prequel, From Dusk Till Dawn 3: The Hangman’s Daughter. It was also adapted into a TV series that expanded on the movie’s plot; Rodriguez executive produced the three-season series for his El Rey TV network.

From Dusk Till Dawn will be available to stream on Paramount+ starting on September 1. Stay tuned to Collider for future updates.

Queerness and horror have a long, fraught relationship. Take The Silence of The Lambs, the Sleepaway Camp series, It: Chapter II — I could go on and on. While mainstream horror sapphic representation is flimsy or outright awful, horror movies made by queer women and/or with explicitly queer female characters are thankfully on the rise.

We all know the classics like Jennifer’s Body, Black Swan or The Hunger, but what about movies with subtle or maybe lesser known queer girl moments? These scenes are not necessarily all good or all bad, but they sprinkle a little LGBT crouton packet onto a scary movie salad. Some of them are blink-and-you’ll-miss-it Easter eggs, some are casual one-liners, and some are full-on sapphic puzzles.

I Know What You Did Last Summer (2025)

In the latest reboot, Chase Sui Wonders’ character Ava is bisexual, although they don’t use the word. In the beginning of the film, we see her pining for her ex, Milo (Jonah Hauer-King). Later, she meets true crime podcaster Tyler (played by Gabbriette of Charli XCX fame) and they fuck in an airplane bathroom. Hot. Then, Milo picks them up from the airport and the car ride is understandably awkward. Not because of Ava’s bisexuality, but because Milo’s her ex and she just hooked up with Tyler. (Gabbriette is very funny here.) I went into the movie not expecting any queerness and was pleasantly surprised to see that moment — and with Gabbriette, no less. (What can I say? I love a woman with pencil-thin eyebrows.)

Cuckoo (2024)

One of my favorite performances of the last year was by Hunter Schafer in the movie Cuckoo. I can’t even explain to you what the film was about, and that’s fine because it’s better if you go in not knowing. While working at a resort in the Alps, Gretchen is approached by a gorgeous mysterious French woman named Ed (played by Àstrid Bergès-Frisbey). Ed asks if Gretchen likes music (an incredible opening line) and Gretchen is immediately in love. The two kiss and plan to run away together but are thwarted. Probably by a monster who hates music.

Hostel: Part II (2007)

In Rome, Beth meets Axelle (Vera Jordanova) after sketching her nude in art class. She and her friends too quickly agree to travel to Slovakia with Axelle. (But I mean, who among us hasn’t done something impulsive for love?) There are a lot of queer undertones to Beth (Lauren German), but one moment stands out. In the pool, Beth swims up to Axelle, massages her shoulders, and kisses her on the neck. It’s really intimate for two presumably straight ladies who have just met. And spoiler: Hostel: Part II gives us Beth as the rare lesbian-coded final girl.

Aliens (1986)

This is one of my absolute favorite LGBTQ Easter eggs. In the file for the deceased Lambert, which is seen briefly in the sequel to Alien, it indicates that Lambert (played by Veronica Cartwright) is a trans woman. Her bio reads: “Subject is Despin Convert at birth (male to female). So far no indication of suppressed trauma related to gender alteration.” (Fans theorize that “Despin” must be the name of the surgery she underwent.) Lambert being trans is in small text and requires pausing to read the screen in order to catch it. Still, it’s a pretty cool little trans nod for 1986.

Get Out (2017)

It’s one of the most terrifying scenes in Jordan Peele’s masterpiece that is already filled to the brim with terrifying scenes. In it, Daniel Kaluuya’s Chris finds a box of photos of his girlfriend Rose (Allison Williams) romantically posed with each member of the staff at her parents’ home. He realizes she’s brought all of them into the clutches of her family to be brainwashed and kidnapped. In one photo, we see Georgina, the housekeeper, being hugged by Rose from behind. Rose used queerness to lure Georgina (played by Betty Gabriel) to her horrible fate. It is not a good inclusion — Rose is probably not actually bisexual, and Georgina’s been tragically taken advantage of by a racist. That one photo is among a sea of male victims, but it’s part of the smoking gun Chris was looking for.

The Conjuring: The Devil Made Me Do It (2021)

This one takes some dot connecting. In 1981, Ed and Lorraine Warren investigate paranormal mysteries: including the citing of a familiar totem at the scene of the murder of a woman named Katie. She was stabbed by her “friend” Jessica who she ran away from home with. In one of Lorraine’s visions, she sees Jessica was possessed by a demon when she killed Katie. The witch’s curse everyone is under predicts three possessions: the child, the lover, and the Man of God. By process of elimination, it’s pretty clear Jessica is the lover. This is also confirmed in the Conjuring comics apparently, but I haven’t read them. It’s not openly said in the film, but putting the pieces of the witch’s puzzle together makes Katie and Jessica’s coupledom undeniable.

Nope (2022)

Keke Palmer’s character Emerald Haywood in Jordan Peele’s Nope is definitely queer-coded. At one point she references a “girlfriend,” but that could mean someone who is just a friend. (Yeah, right.) The more explicit little moment comes when she and her brother visit Fry’s Electronics. In the middle of explaining her plan, she pauses to tell a woman, “How you doin’? You look pretty.” It’s implied she’s asking because the woman seems wealthy, but combining those two lines solidifies Emerald’s lesbianism for me.

Cult of Chucky (2017)

Spoilers, spoilers, spoilers!! You’ve been warned. The big twist at the end of this film is that Chucky is now possessing the body of his long-time victim Nica. He’s using her to escape the asylum. When he’s picked up by his lover Tiffany (Bound’s own Jennifer Tilly), we’re not sure if Nica is herself or not, but once she starts speaking, we can guess. The two passionately kiss in the snow. Yes, Nica is Chucky. Yes, it’s twisted. But I like it for this line delivery that happens after the kiss. Nica/Chucky remarks on how different it is to kiss in these bodies. Tiffany replies sultrily, “I don’t know. Works for me.”

Miller’s Girl (2024)

This movie, more an erotic thriller than horror, stars Jenna Ortega and Martin Freeman as a student and teacher embroiled in a tense, sexual rollercoaster of fuckery. It is not good. However, Gideon Adlon’s performance as high school bestie Winnie is so endearing, gay and relatable. She is clearly in love with Ortega’s Cairo and, when the other girl suggests they make out to entice another teacher, Winnie’s wide eyes say it all. “For him, not for you,” Cairo clarifies. Winnie shyly responds, “Well, it can be a little for me.” They continue kissing even after the photo is taken, but Cairo is clearly manipulating her. Even so, I loved Adlon’s performance in this scene.

The Birds (1963)

Though not explicit in the film partially due to the era of its release, the female characters — Melanie and Annie — in The Birds have undeniable chemistry. In later interviews, Jessica Tandy who plays the mother of love interest Mitch in the film said Suzanne Pleshette (Annie) actually asked director Alfred Hitchcock if her character was a lesbian. Hitch allegedly asked her what she thought. It was either that or her character was jealous of Melanie (Tippi Hedren). Suzanne said she’d rather her character be a lesbian than simply “frustrated” by rejection from Mitch. Her take on the character gives us longing, sensual looks between the two, especially one as she leans in a doorway. Smoldering. Too bad their town is being attacked by killer birds. (And not in the fun “slang for women” way.)

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