The Top 8 Scary Netflix Movies in 2022

Netflix’s horror offerings in 2022 are a mixed bag when assessing the quality of their offers. It’s becoming increasingly difficult for Netflix to convey a feeling of comprehensiveness. At the same time, other services, particularly those focused on a specific genre like Shudder, continue to grow their horror movie offerings.

Creep, Raw, His House, and more recent films like the Fear Street trilogy and His House are among the higher-quality modern comedy to be found here. Midnight Mass isn’t exactly franchise staples, but they’re not to be overlooked either. They aren’t movies, but they’re nevertheless worthy of inclusion on this list of the greatest. Also, the return of The Exorcist? Watch your step!

This list is meant to serve as a starting point for you. The most popular movies are required viewing. It’s very uncommon for the lowest-rated films to be what critics refer to as “fun-bad” – imperfect but ultimately entertaining for some reason.

The Exorcist

The Exorcist

  • Year: 1973
  • Director: William Friedkin
  • Stars: Linda Blair, Ellen Burstyn, Max von Sydow, Jason Miller, Lee J. Cobb
  • Rating: R
  • Runtime: 122 minutes

Choosing The Exorcist may be a bit of a safe bet, but you have to decide whether any other picture on this list is worse, more influential, or just plain scarier than this one. A dreadful atmosphere permeates the film even before the possession scenes begin; the film has a filthy and twisted feel.

For an eighth of a second, a segment like the “devil face” appears on the screen, making you feel like you can never relax. It burrows deep into your flesh, where it will remain indefinitely. As the film progresses, you begin to lose hope that this priest (Jason Miller), who isn’t very strong in his religion, will be able to save the little girl possessed by the demon (Linda Blair).

William Peter Blatty further addressed this theme in The Exorcist III, where he reveals that even his “victory” is empty. By any standard, The Exorcist is a fantastic film. Even if you’ve watched it many times before, it’s still painful to watch.

Raw

Raw

  • Year: 2016
  • Director: Julia Ducournou
  • Stars: Garance Marillier, Ella Rumpf, Laurent Lucas
  • Rating: R
  • Runtime: 99 minutes

To get your friends to watch Raw, you may tell them that Julia Ducournau’s film is a “coming-of-age story” that they should see. It is true that the film’s protagonist, innocent first-year college student Justine (Garance Marillier), grows up during its running duration; she parties, she gets out of her shell, and she learns about who she truly is as a person in the cusp of adulthood.

Allow Ducournau’s sarcasm to shine through a little. In the back of your mind, you’re thinking, “Wow! That’s the movie title!” There is no doubt in my mind! Yes, it is! But most kids who grow up in the movies don’t realize that they’ve been suppressing an instinctive, nigh-insatiable need to eat raw meat for much of their lives.

“Raw” isn’t just a hint to the film’s gruesome details; it’s an open admission of Justine’s dark maturation. Even when the film is at its most obscene, which it often is, Ducournau’s most obscene descriptions tend to be the ones we can’t see: As much as exposed and bloodied flesh, fear of feminine sexuality, family ties, and common opinion govern Raw’s horrors. It’s a bloodbath that makes no apologies and gives the viewer much more to think about than the gore itself.

His House

His House

  • Year: 2020
  • Director: Remi Weekes
  • Stars: Wunmi Mosaku, Sope Dirisu, Matt Smith
  • Rating: NR
  • Runtime: 93 minutes

Withholding on horror is one of the worst things you can do to the genre. There are many methods to frighten moviegoers, but the very least a horror film can do is scare them instead of making them laugh. The His House of Remi Weekes isn’t a slouch.

A tragic event sets the tone for the picture, and within the first ten minutes, it easily outdoes The Grudge in terms of strewn ghosts all over the floor and the stairwell so that the protagonists can trip over them. A companion piece to Jonas Carpignano’s Mediterranea, which depicts the risks faced by immigrants on the trip and at their destinations with brutal neorealist clarity, this film is about the inevitable innate pain of immigrant experiences.

As a person, Weekes cares significantly about the lives of Bol and Rial, their origins and journeys, and most importantly, what they did to escape. On the other hand, Weeks is just as dedicated to making his audience jump out of their skins as he is.

The Haunting of Hill House

The Haunting of Hill House

  • Year: 2018
  • Director: Mike Flanagan
  • Stars: Henry Thomas, Michiel Huisman, Carla Gugino, Elizabeth Reaser, Oliver Jackson-Cohen, Kate Siegel, Victoria Pedretti
  • Runtime: 10 episodes

The Haunting of Hill House has a unique look and feel that works well as a horror film and a faithful adaptation of Shirley Jackson’s novel. There are no ghosts, ghouls, or things that bump in the night in this film. The series even returns to parts of the original film adaptation’s camera movement and shot design selections to create a sense of unease and disorientation.

“Inconsistency,” on the other hand, maybe the wrong term. You’re constantly on guard against being deceived when you’re viewing it, but the film’s scenes nonetheless manage to sway you. The Haunting of Hill House excels at establishing unsettling settings and letting us stew in them because it embraces the squirm and the time it takes to make us squirm rather than jump.

Midnight Mass

Midnight Mass

  • Year: 2021
  • Director: Mike Flanagan
  • Stars: Zach Gilford, Kate Siegel, Kristin Lehman, Samantha Sloyan, Henry Thomas, Hamish Linklater
  • Rating: N/A

Everyone on Crockett Island, Midnight Mass’ Crockett Island, feels like they’ve been poorly dealt. As a result of the oil spill, the island’s indigenous fishing industry has been decimated. The ocean’s elements had taken their toll on their splintered and peeling dwellings.

A massive storm is brewing on the horizon, and there isn’t much hope left in the world. Most residents have gone due to a lack of opportunities on the island, leaving only a few people. There are just two ferries that can get them to the mainland.

Midnight Mass (produced by The Haunting’s Mike Flanagan in his most recent collaboration with Netflix) is a show that delves inward rather than outwards, yet what can be stated is that even with its dabblings in the supernatural. Midnight Mass explores the dark side of human nature by focusing on the inner struggles of its protagonists, as well as the physical claustrophobia of Crockett’s world and the characters’ psychological traumas.

As far as I can tell, they’re mining Catholic guilt for all they’re worth. One way to look at it is as a measured, albeit terrifying, look at group psychology, the necessity for faith in suffering, and the ethics of leadership with such susceptible followers, considering whether these impulses represent human virtue, evil, or nothing at all.

It is said, “Blessed are those who have believed even if they have not seen.” If you’re a doubter or a believer, Midnight Mass allows you to show your faith. In the end, what’s the difference between a miracle and a supernatural occurrence?

Creep

Creep

  • Year: 2014
  • Director: Patrick Brice
  • Stars: Mark Duplass, Patrick Brice
  • Rating: R
  • Runtime: 77 minutes

Creep is a fun, albeit predictable, small indie horror film directed by Brice, who also released this year’s The Overnight. In this character study starring the ever-prolific Mark Duplass, we meet a young filmmaker who gets hired by a secretly deranged recluse to film his life in a remote log cabin.

As the crazy lunatic who pours himself into the protagonist’s life and haunts him every waking hour, Duplass shines in this role. It relies only on the quality of its performances. The first exchanges between the two had an unsettling intensity to them.

It’s a well-crafted journey that succeeds on the strength of chemistry between its two primary actors in a way that recalls me of the scenes between Domhnall Gleeson and Oscar Isaac in Ex Machina.

The Conjuring

The Conjuring

  • Year: 2013
  • Director: James Wan
  • Stars: Vera Farmiga, Patrick Wilson, Ron Livingston, Lili Taylor
  • Rating: R
  • Runtime: 112 minutes

Let it be known that James Wan is, at the very least, an above-average horror film filmmaker. Films like Saw and Insidious result from Spielberg’s aptitude for creating popular horror that retains a trace of his own creative identity without ultimately compromising character development.

If this list were ever enlarged, several of Wan’s films would fall just outside the top 100, but The Conjuring stands out as the scariest of all his films by a wide margin. The Conjuring has a way of defying when and where you expect the scares to appear, much like the first time I saw Paranormal Activity at a crowded cinema.

There is nothing new about the film’s haunted house/possession story, but the Rhode Island property it’s set in has never looked so good in recent years. Incredible thrills are unleashed without the usual Hollywood Jump Scare build-up, yet invoking legendary golden age ghost stories like The Haunting at the same time as the film.

It was a cut above the PG-13 horror it was mainly competing with in terms of intensity, effects work, and relentlessness. Despite the lack of overt “violence,” gore, or sensuality, The Conjuring was given an “R” rating, which is interesting. To say that it was terrifying is an understatement.

I’m Thinking of Ending Things

I'm Thinking of Ending Things

  • Year: 2020
  • Director: Charlie Kaufman
  • Stars: Jessie Buckley, Jesse Plemons, Toni Collette, David Thewlis
  • Rating: R
  • Runtime: 134 minutes

Crammed together, these primitive images reveal the insides of a farmhouse or apartment and the interiors of another home. Many spectators will consider how they want the show to end. I’m considering calling it quits as soon as things get going.

A woman we haven’t seen yet is in the middle of a story, giving us something about which we have no background knowledge. It’s jarring and unsettling. It appears that something is amiss. Movies are intended to be different. Jessie Buckley does an outstanding job as the woman we’ve all been waiting to see.

It looks like we’re in a 3-D snow globe with her on the street as puffy snowflakes begin to fall. She gazes out of a second-story window. In the distance, we observe an older man peering out a window. We catch a glimpse of Jesse Plemons peering out of a window below.

We see Jesse Plemmons driving up in his old automobile to pick up Jessie Buckley in the following picture. The soundtrack to the film is a whirlwind of notes and rhythms. Luca, Amy, Lucia, Jessie Buckley’s Lucy, or Lucia or Amy is considering breaking up with Jake.

According to what I’ve heard, things aren’t going to turn out well. Jake is the one who operates the vehicle and occasionally utters words; his actions appear to be relatively consistent until they aren’t until some gesture seems as if it were from another self. Louisa or Lucy will show up, a wellspring of personality, wisdom, and passions.

However, slowing down or being quiet can transform her into a completely new person with different memories and interests. In some cases, she is a painter; in others, a physicist. Incredibly talented twins Jessie and Jesse. It isn’t easy to put the complexity of their performances and personas into words.

The year’s best film fails miserably to live up to its name as a “movie.” It doesn’t follow any established rhythms, patterns, or cliches. It doesn’t even strive to be a fantastic film; instead, it merely seeks to examine another person’s thinking via the lens of cinema.

However, because awareness (and our fragmentary perception of it) is so totally the point of everything the film encapsulates and encapsulates, its self-consciousness could have been terrible. It would be a platitude that the film itself rejects if it said that it accepts both the beauty and the ugliness of life. The adage that “love conquers all.” is even more so. Though they may be ghosts or illusions, these untruths fly in and out of the video frame with ease.

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