The 25 Best Horror Movies of the 21st Century, Ranked

After the pandemic, the movie theater scene has generally been a rollercoaster of anxiety and brief moments of excitement. However, one film genre has been particularly effective at luring viewers back to the multiplex over the past few years: horror films.

Horror movies are no longer confined to Halloween; they’re scattered throughout the year on release calendars. Despite M3GAN 2.0 losing steam last month, 28 Years Later breathed new life into a franchise that’s barely older than its title. The legacy sequel I Know What You Did Last Summer, which premiered last weekend, is pushing the boundaries of ’90s nostalgia. Meanwhile, Dave Franco and Alison Brie’s Sundance body-horror film, Together, is set for release on July 30. There’s also high anticipation for Weapons, starring Josh Brolin and Julia Garner, which is scheduled to open early next month.

For over a century now, horror – initially through literature and later through films – has mirrored society’s fears as it grapples with a swiftly evolving world. Given our current era’s apprehensions about issues like climate change, artificial intelligence advancements, the decline of democracy, and the stigmatization of certain groups, it’s no wonder that horror in the last 25 years has flourished remarkably, potentially heralding a new golden age of on-screen terror.

Narrowing the selection to only 25 favorite films, encompassing both studio productions and indies, as well as American and international ones, proved quite difficult. The following list, ranked subjectively, includes a film that edged out numerous others, regrettably leaving many worthy contenders on the sidelines (see Honorable Mentions for some of them).

Instead of defending my taste for horror movies that lean more towards atmospheric or symbolic themes rather than gruesome violence, you won’t find films like “The Human Centipede” or “Saw” or “Hostel” in my collection. I prefer monster movies and ghost stories to torture porn, so don’t expect any representations of “Saw” or “Hostel”. Although I found “X”, “Pearl” and “MaXXXine” enjoyable, I chose not to watch slasher films and instead opted for those focusing on the occult.

Lastly, I kindly ask you not to complain that David Lynch’s exceptional “Mulholland Drive” isn’t included, as captivating as it may be, it does not fall under the horror genre. Instead, appreciate its uniqueness in the world of cinema.

Notable films include:
– Barbarian (2022)
– The Devil’s Backbone (2001)
– The Eye (2003)
– A Girl Walks Home Alone at Night (2014)
– Goodnight Mommy (2014)
– The Innocents (2022)
– It Comes at Night (2017)
– Midsommar (2019)
– Nanny (2022)
– The Orphanage (2008)
– Prey (2022)
– Pulse (2005)
– Raw (2017)
– She Dies Tomorrow (2020)
– Thelma (2017)

Bones and All (2022)

Luca Guadagnino’s horror-romance film, based on the novel by Camille DeAngelis, is a love story immersed in the bloodshed that occurs during feeding times for the cannibal characters. The director infuses the movie with an unexpected blend of sweetness, poetry, sensuality, and emotional depth. Taylor Russell and Timothée Chalamet portray protein-diet wanderers embarking on a road trip across the country, feasting whenever they find opportunity on human flesh. As they separate and reunite, they discover a sense of belonging in each other and strive for a normal life, but are haunted by their past, personified by the eccentric Mark Rylance, who ultimately catches up with them in a climactic finale. Guadagnino’s work draws inspiration from Terrence Malick’s Badlands, yet this peculiar tale of death carries echoes of numerous American outlaw stories.

Talk to Me (2022)

In a shift from popular YouTube videos to horror films, Australian twins Danny and Michael Philippou starred in “Creeped Out,” a chilling series that serves as a warning against interfering with the spirit realm. A group of adventurous Adelaide teens, always ready for a frightening moment to share on social media, somehow acquire what is claimed to be a ceramic-enclosed severed forearm. Invoking the three words of the title causes the dead to inhabit their bodies. However, this possession can only last for 90 seconds before the spirit becomes deeply rooted. In her impressive big-screen debut, Sophie Wilde portrays Mia, a character whose mother’s apparent suicide makes her particularly drawn to spiritual investigations. But trouble arises when Mia’s stand-in younger brother stays too long at a party, leading to a crisis. The Philippous brothers skillfully avoided the sophomore slump with their 2021 production, “Bring Her Back.

A Quiet Place (2018)

In his roles as co-writer, director, and actor alongside Emily Blunt, John Krasinski showcased a talent for top-notch genre movie-making with this economically produced alien invasion thriller, which went on to be a significant global success. The film benefits from strong performances by Millicent Simmonds and Noah Jupe as it follows a family’s harrowing struggle to survive in a post-apocalyptic United States overrun by spindly, blind aliens who can locate their victims quickly due to their acute hearing. Krasinski introduces an emotionally devastating event early on that many films might have delayed until the climax. This heart-pounding event sets the pace and seldom lets up. The sequel, “A Quiet Place: Part II“, and prequel, “A Quiet Place: Day One“, are also worth watching.

Under the Shadow (2016)

Babak Anvari made a significant impact at Sundance with his captivating tale of supernatural struggle, influenced by his childhood in Tehran during his time as a British Iranian director. Set amidst the ongoing post-revolutionary conflict in 1988, the film shares elements with intense domestic dramas like those of Asghar Farhadi, while also incorporating chilling horror reminiscent of classics such as Poltergeist or The Babadook.

The political turmoil and feminist perspective on a society that suppresses women create a sense of urgency in the story, as a former radical portrayed by Narges Rashidi with raw determination fights to protect herself and her daughter from an unending war and a swarm of djinn — Middle Eastern spirits that travel through the wind. A particularly chilling scene features a faceless figure wrapped in a whirling chador that menaces the mother.

His House (2020)

Over the last 25 years, British horror cinema has produced some outstanding works, such as “Saint Maud,” “Amulet” directed by Romola Garai with a vibe reminiscent of Argento, the enigmatic “Berberian Sound Studio” by Peter Strickland, and Joe Cornish’s unique blend of Spielberg-style sci-fi and comedy, “Attack the Block.” Among these, Remi Weekes’ debut stands out as a remarkable fusion of traditional haunted house terror with stark social realism. This film portrays the refugee experience as a form of horror – the trauma of escaping violent conflicts in war-torn countries, risking life on overcrowded boats, enduring hardships and guilt upon survival, navigating endless bureaucratic hurdles for asylum, and dealing with the stresses of cultural displacement. The powerful performances by Wunmi Mosaku (known for her role in “Sinners”) and Sope Dirisu as South Sudanese refugees depict their struggle to adapt to life in England, which becomes unbearable when they discover that their government-assigned housing is inhabited by a vengeful night witch, or “apeth,” that has pursued them from East Africa.

Drag Me to Hell (2009)

Sam Raimi’s dark comedy and gruesome horror usually complement each other, but the chilling terror in this latest project, following six years on Spider-Man, makes it one of his most thrillingly enjoyable films yet. Alison Lohman portrays Christine, a loan officer seeking promotion, who must prove she’s not a pushover. However, when she denies extending Sylvia Ganush’s mortgage, despite the elderly European Roma woman’s pleas to avoid repossession, Christine is afflicted with a curse – a “lamia,” specifically, guaranteeing three days of torment by demons before her inevitable fate. The intense struggle between Christine and Sylvia (played menacingly by stage veteran Lorna Raver) is unforgettable. A wickedly entertaining experience.

It Follows (2014)

In the chilling ’80s slasher era, sex often led to danger, giving rise to the trope of the virgin survivor, or the “Final Girl.” David Robert Mitchell’s film, It Follows, reimagines this concept by making sex a way for an ominous force to claim lives. The only way to break free is by passing the curse onto someone else and allowing them to face the lethal entity, which can disguise itself as loved ones or friends. Maika Monroe plays a Detroit suburban teen who finds herself marked for death, forcing her to rally her friends to combat this possibly supernatural threat. Mitchell drew inspiration from George A. Romero, John Carpenter, and photographer Gregory Crewdson for the movie’s visually arresting scenes, filled with skillful pans and intrusive tracking sequences that create an atmosphere of suspense and voyeurism. The film blends 1950s horror with a dreamlike limbo of adolescence.

Presence (2024)

This low-budget film directed by a confident director and written by an experienced screenwriter, titled “Unseen,” is a modern take on the haunted house genre that keeps viewers on edge. The unique aspect of this single-location movie filmed in first-person perspective is that it places the audience as the unseen entity of the title. In essence, we become the ghost that welcomes the new homeowners, gradually revealing its sinister intentions through chilling incidents. The film masterfully builds tension and dread, showcasing a talented ensemble cast headlined by Lucy Liu and Chris Sullivan.

The Invisible Man (2020)

Among Universal’s classic monster remakes, my favorite is Leigh Whannell’s chilling adaptation of H.G. Wells’ novel, which served as the basis for James Whale’s 1933 film. This modern take, highlighted by Elisabeth Moss’s captivating performance, is skillfully rooted in the #MeToo era. Instead of focusing on the title character, a malevolent tech genius who feigns his own death following the discovery of invisibility, Whannell chooses to explore the emotional turmoil experienced by the girlfriend victimized by his abusive actions. Since Peggy Olson, Moss has rarely been more riveting as she portrays Cecilia Kass, growing increasingly unsettled by her ex’s harassment and manipulation before eventually seeking retribution.

Sinners (2025)

With Creed revitalizing the Rocky franchise and Black Panther proving that depth and seriousness can thrive in a Marvel film, director Ryan Coogler now presents his inaugural original blockbuster, steering clear of real-life stories or established IP. This film seamlessly blends genres, offering a captivating portrayal of the Jim Crow South. Michael B. Jordan delivers an electrifying performance as twin brothers, Smoke and Stack, who are seasoned Chicago gangland veterans, now venturing back to the Mississippi Delta to establish a juke joint. However, the story goes beyond this gripping central plot, serving as a lofty tribute to the spiritual and supernatural might of blues music, an exploration of the evasive nature of freedom, and a bloodthirsty spectacle of vampire carnage. The film’s attention to character development and setting lends a heart-pounding intensity to the ensuing action, making this thriller not just visually stunning but also thought-provoking.

Saint Maud (2019)

In Rose Glass’s gripping debut film, the line between faith and madness is explored through the story of a palliative care nurse who transforms into a devout Christian following a tragic event at her previous hospital. The role of the rigid Maud is portrayed by Morfydd Clark, who takes on the title character’s godly name after the incident. Maud, driven by zeal, assumes the role of self-appointed savior and becomes fixated on rescuing Amanda, a private patient suffering from cancer. Jennifer Ehle delivers an exceptional performance as Amanda, a once-famous dancer who seems an unlikely candidate for redemption due to her unrepentant hedonistic lifestyle and non-believing nature. As the story unfolds, the relationships between the characters lead towards their mutual downfall, with Glass skillfully building tension as visions of demons and supernatural elements clash with religious ecstasy.

The Others (2001)

Numerous adaptations have been made of “The Turn of the Screw,” and Alejandro Amenábar’s supernatural psychodrama, though not a direct adaptation, is arguably the most impactful since Jack Clayton’s “The Innocents” in 1961. In this rendition, the protagonist has been changed from a governess to a World War II-era mother of two light-sensitive children, providing Nicole Kidman with one of her most compelling roles. Her delicate beauty and emotional vulnerability give the character’s isolation, descent into madness, and eventual collapse a tragic majesty. The film effectively creates a dreamy ambiance within the silent, candlelit manor, while the Chilean-Spanish director pays homage to the classic ghost story by intensifying its emotional weight with oppressive repression.

Nosferatu (2024)

Robert Eggers’ film title shows his deep respect for F.W. Murnau’s 1922 silent classic. This chilling adaptation of Bram Stoker’s timeless vampire story delves into the same dark abyss, yet weaves its own enchanting tale. Bill Skarsgard portrays Count Orlok with a haunting allure, while Lily-Rose Depp plays the young woman who falls under his curse. Her innocence appears pure, but hides a powerful sexuality and inherent darkness that draws them together in a passionate bond. A movie filled with unsettling beauty and vivid imagery, it’s a testament to exceptional design, atmosphere, and malevolent ambiance, boasting an outstanding cast including Nicholas Hoult, Emma Corrin, Willem Dafoe, and Aaron Taylor-Johnson.

Us (2019)

In a chilling tale, there was once a girl who had a counterpart – her shadow. This phrase, delivered in a haunting whisper by Lupita Nyong’o in Jordan Peele’s intriguing horror masterpiece, continues to send shivers down the spine even years later. The peaceful vacation of the Wilson family is disrupted one fateful night when Adelaide (Nyong’o), her husband Gabe (Winston Duke), and their two children are taken aback by four figures that resemble them standing in their driveway, shrouded in darkness. These eerie doppelgängers – malicious, brutal, wild versions of the Wilsons dressed in red jumpsuits – are called “the Tethered.” They are bound to their original selves, but they aim to break free by any means necessary, including violence. I must admit that I chuckled when Elisabeth Moss’ Kitty’s double awkwardly applied lipstick with a maniacal grin, but mostly, I was left trembling in fear. This unsettling exploration of the evil lurking within us viciously attacks the harmonious spirit of “Hands Across America.

The Witch (2015)

In Robert Eggers’ impressive first film, he masterfully blends horror, folklore, history, and mythology to create an eerie story about a Puritan family in 17th-century New England. They are exiled from their community due to a religious disagreement, and they establish a farm in the woods instead. An ominous presence begins to haunt them, with tragic consequences starting with their newborn son. The narrative gradually centers around Thomasin, portrayed by Anya Taylor-Joy in a remarkable debut performance, as her mysterious pact with a talking goat named Black Phillip leads the film to its chilling climax. Eggers’ dedication to authenticity and detail in language, lore, and design is a consistent feature of his four period films so far.

Hereditary (2018)

Ari Aster made a splash in the horror genre with this clever household thriller, showcasing his talent as a fresh horror craftsman. In one of the ’90s’ most memorable horror films, The Sixth Sense, Toni Collette delivered an unforgettable portrayal of a complex mother figure. Here, she gives an almost operatic performance as Annie, a mother struggling with eerie events, particularly in a dramatic confrontation with her distressed teenage son, Alex Wolff’s character. The entire cast, which includes Gabriel Byrne, Milly Shapiro, and Ann Dowd, is exceptional. Aster uses Annie’s profession as a mixed-media miniature artist specializing in architectural models to create the narrative within a dollhouse, depicting the home not as a sanctuary but as an entry point for a sinister coven. Quite an unfortunate legacy, Grandma.

The Conjuring (2013)

As a gamer, I found myself drawn into the chilling world of “The Conjuring,” inspired by the real-life investigations of Ed and Lorraine Warren. Back in 1971, this dynamic duo was fighting an otherworldly battle to save a Rhode Island family whose home stood on land cursed by a Satanist witch. The movie perfectly captures their intelligence, conviction, and the growing unease that comes with their line of work.

The old-fashioned approach, favoring practical effects over digital, kept me gripped in a vice of fear. The scenes where Ed and Lorraine communicated with the mother possessed by the dark entity (an outstanding performance by Lili Taylor) had my blood running cold. When she turned to them, snarling, “She’s already gone,” I knew we were dealing with something truly terrifying.

Pan’s Labyrinth (2006)

Guillermo del Toro showcased his storytelling talent with “The Devil’s Backbone“, blending a chilling ghost narrative into a political commentary, set at the tail end of the Spanish Civil War. This dark fairy tale unfolds swiftly in the initial days of the Franco regime. It mirrors the brutal attempts of a cruel military officer to eliminate freedom fighters with the imaginative journey of his 10-year-old stepdaughter as she explores an ancient stone maze. In this mystical realm, she encounters a faun. Convinced that she is the reborn ruler of the underworld, the creature sets her three challenges to overcome in order to gain immortality and reclaim her throne. A testament to uninhibited creativity and stunning visual splendor.

Train to Busan (2016)

In Yeon Sang-Ho’s pulse-pounding action thriller, I found myself trapped on a speeding train from Seoul amidst a horde of swift, flesh-eating zombies. The tense, claustrophobic atmosphere and the well-developed characters gave this rollercoaster ride a nostalgic feel reminiscent of ’70s disaster movies. Among the passengers were a dedicated finance manager seeking to mend his relationship with his daughter, a hardworking couple anticipating their newborn, a cunning corporate executive, a high school baseball team, and an unassuming homeless person hiding aboard. Despite being stock characters, Yeon managed to evoke genuine empathy for them as they united – or sometimes acted selfishly – in the struggle to stay alive.

28 Days Later (2002)

George A. Romero’s “Night of the Living Dead” was truly groundbreaking. However, the slow-moving undead from that movie appear almost harmless when compared to the deadly zombies in Danny Boyle and Alex Garland’s low-budget post-apocalyptic hit. Cillian Murphy plays a bicycle courier who wakes up from a coma following a traffic accident, only to discover a collapsed society and deserted London streets – an unsettling foreshadowing of the city under pandemic lockdown. This all happened because a stubborn animal rights activist released a rabid monkey from its cage in Cambridge, unleashing a highly contagious “rage virus.” To be honest, I watched half of this movie with my fingers clenched tightly around the edges.

The Host (2006)

Before achieving global acclaim with his film “Parasite,” winning Oscars for Best Picture and Original Screenplay in 2020, renowned Korean director Bong Joon Ho created this gripping monster movie. It was inspired by a true event where an American military contractor illegally dumped toxic waste into the Han River near Seoul. The film features Song Kang-ho, who delivers a captivating performance in a blend of environmental and political satire with giant creature-feature scares. The movie draws on the “Godzilla” tradition but has Bong’s unique touch of incorporating goofy humor and heartwarming family dynamics. A memorable scene is when the giant mutant tadpole rises from the water, causing panic along the riverbanks.

The Babadook (2014)

Jennifer Kent’s initial film, The Babadook, skillfully explores psychological depth and raw terror stemming from a child’s imagination, influenced by an eerie Gorey-esque picture book. Essie Davis delivers a heart-wrenching performance as the troubled widow mother, struggling with despair, fury, and powerlessness. The Australian filmmaker masterfully intertwines fantasy and reality in a narrative that equally addresses themes of grief, fear of parental shortcomings, and the sinister, hat-wearing, steampunk-inspired figure that arises from the bound pages of this unsettling children’s book. The visuals are meticulously crafted to create an intense sensory experience reminiscent of early horror films by German Expressionists.

Let the Right One In (2008)

The muted colors, the backdrop of snowy Stockholm suburbs, and the thick Scandinavian winter clothing give Tomas Alfredson’s captivating thriller an initial appearance as a somber Nordic art film. However, this emotionally profound adaptation of John Ajvide Lindqvist’s novel (which later spawned an entertaining American remake, a stage version, and a Showtime series) stands out as one of the most unique and subtly layered vampire movies in recent decades. A bullied 12-year-old boy finds solace when a pale, enigmatic girl around his age moves next door. Although they never veer into pre-adolescent romance, their bond develops into love as the number of gruesomely murdered bodies rises and she is unveiled as an ancient vampire with an insatiable thirst for blood. This mortal-undead relationship is a blend of melancholy, tenderness, and chilling terror – a stark contrast to the rampant teenage emotions in Twilight.

Get Out (2017)

Jordan Peele’s background in sketch comedy unexpectedly set the stage for his exceptionally intelligent debut film, which tackles thought-provoking themes about racial tensions, identity loss, and the objectification of Black people by the privileged white class. As a writer and director, Peele employs horror elements to explore questions that lingered at the end of Barack Obama’s presidency and have since grown louder. Daniel Kaluuya plays a photographer who encounters the parents of his white girlfriend (Alison Williams), only to find himself in a nightmarish scenario where the overly friendly, seemingly ultra-liberal upper-class WASPs, portrayed masterfully by Bradley Whitford and Catherine Keener, harbor hidden intentions for him. This film is both terrifying and funny, resembling “Invasion of the Body Snatchers” but with affluent upstate New Yorkers as the threatening entities.

Under the Skin (2013)

Over a span of 25 years, British director Jonathan Glazer has honed his skills in various genres, showcasing his meticulous approach to filmmaking with only four distinct features. Unsurprisingly, he created one of the most innovative and puzzling horror movies of the new millennium – a film that also stirred much debate among viewers. This adaptation of Michel Faber’s novel offers a unique, immersive experience. Scarlett Johansson masterfully portrays an extraterrestrial woman in Scotland, targeting solitary men and drawing them into a dark void. However, when she encounters a man with facial disfigurement (played by Adam Pearson), her usual instincts are challenged as she spares his life instead of consuming him. This scene, both moving and unsettling, is one of the highlights of the film. Few movies live up to their title’s promise as effectively as this one does.

2025-07-23 16:56