The Halloween Countdown: 31 days of horror to watch

Do you feel that? That chill in the air, that tingling sensation at the back of your neck? It can only mean one thing. That’s right: Halloween season is once again upon us!

Here at worldnetgames, we love horror. We cover it all year round, whether it’s ranking the scariest new releases of the year or curating lists of the spookiest horror movies to watch on Netflix.

We especially love Halloween, though, a holiday dedicated to all things scary and spooky. Which is why, every year for the past four years, worldnetgames has put together a Halloween countdown calendar, selecting 31 of our staff’s top horror-themed or Halloween-adjacent picks across movies, TV, and online videos throughout the month of October, all available to watch at home. It’s been so much fun, in fact, we’re doing it again — with an all new batch of films, shows, and videos to choose from.

Every day for the month of October, we’ll add a new recommendation to this countdown and tell you where you can watch it. So curl up on the couch, dim the lights, and grab some popcorn for a spine-tingling marathon of Halloween-adjacent delights.

Today’s Pick: The Empty Man

Four years after its theatrical release, The Empty Man feels like a bit of a tragedy. It’s a horror gem that never had the chance for appreciation because it was dumped into theaters in 2020, when most people weren’t seeing movies in public. Despite that sad fact, however, it’s allowed the movie to grow into something that feels increasingly rare nowadays: a true, honest-to-god cult film that grows every year thanks to its fiercely loyal fans. And they’re right to evangelize.

One of the best compliments you can pay a horror film is to say that it’s unlike anything else, and there is truly no other movie quite like The Empty Man. But for all the incredible things about this movie, what makes it a perfect Halloween watch is the way it synthesizes and weaves together so many disparate types of horror. The Empty Man is practically five horror movies in one, without ever feeling incongruent.

The film’s icy prologue would make for an excellent horror short all on its own, but then it expertly morphs over and over again, each time mimicking each specific subgenre of horror perfectly and terrifyingly. Then, when it feels inevitable that the conclusion of the film will also echo some other horror movie, it becomes something entirely unique for one of the strangest and most disturbing endings to any horror movie of this century so far.

The Empty Man feels like the kind of movie we might look back on in a decade or two in total disbelief; a skeleton key that unlocked the future of the horror genre long before the rest of the film industry had any idea where it was headed. And who knows, by then maybe more people will have seen it, or maybe it will continue to sit in the dark, inspiring its cult following and growing more powerful and important in the shadows. That’s probably what the Empty Man would want, anyway. —AG

Where to watch: Available to stream on Plex and Pluto TV with ads and to rent on Amazon

Kicking off the Halloween horror movie season is a delicate art. Just a few days into the official start of fall, it’s important to pick exactly the right movie to subtly shift that chill in the air from cozy to spooky as gently as you can. With that in mind, we’re easing into Halloween this year with Dario Argento’s Phenomena, a perfect blend of spooky, campy, and bleak that sets that stage just right for the frights to come.

Phenomena takes place in a remote town in Switzerland at a boarding school where Jennifer Corvino (Jennifer Connelly), the daughter of a famous American actor, is the newest student. The only problem is there’s also a serial killer rampaging through the town, and when Jennifer witnesses one of the murders, her life is suddenly in grave danger. The good news is she has an inexplicable telekinetic power over insects to help keep her alive.

And while the movie isn’t quite as silly as the premise would imply, it is among the most bizarre and fun of the many sleazy slashers of the 1980s. But what truly elevates it to a special place is that it’s one of the rare horror movies where the supernatural is seemingly wholly on the side of good. It’s rare that a movie lets us unambiguously root for the mystical power at its center, giving the whole thing the strange, otherworldly feeling of a particularly grotesque fairytale.

All of this makes for a tremendously entertaining and odd mystery movie, and a great way to begin a month full of horror movies. —Austen Goslin

Where to watch: Shudder, AMC Plus

Anthony Waller’s 1995 horror thriller is a premise straight out of a waking nightmare. Billy Hughes (Marina Zudina), a mute special effects makeup artist, is in Moscow working out of a dilapidated movie studio on a low-budget slasher. After returning to the building after hours to pick up an important piece of equipment, Billy accidentally locks herself inside with no way of getting in touch with either her sister Karen or her sister’s boyfriend Andy. Things quickly go from bad to worse when she secretly stumbles upon the filming of a snuff film perpetrated by a pair of Russian gangsters. When the gangsters suspect that someone else is inside the studio, Billy must find a way to escape undetected before her own life is put into danger.

Mute Witness is a terrific cat-and-mouse murder thriller packed with teeth-clenchingly tense sequences and a compelling lead performance courtesy of Marina Zudina. The first hour of the film is expertly paced and edited, ingratiating the viewer within the layout of the studio before transitioning into a mad-dash climax that’s breathtaking and terrifying to behold. If that isn’t enough to pique your interest, the film touts a brief yet memorable cameo appearance by Sir Alec Guinness (Star Wars, Lawrence of Arabia) in one of his final on-screen performances. —Toussaint Egan

Where to watch: Available to rent on Amazon and Apple

If you ever get bored with the same old restaurant cuisines, the answer is often to look for a fusion restaurant that mixes a couple of your favorites, taking spices and techniques from different cultures and mashing them up into something new. The same goes for horror movies: If you’re bored of the usual executions of all the familiar tropes, a genre mashup like 1998’s Fallen may be the best way to find some new flavor in familiar ideas.

In Fallen’s case, director Gregory Hoblit and screenwriter Nicholas Kazan put the serial-killer procedural thriller and the possession horror story in a blender and use ideas and techniques from both to spice up the drama. Hoblit is a police-show vet (Hill Street Blues, NYPD Blue, LA Law, um, Cop Rock) who keeps the action grounded and gritty, even as the supernatural edge pushes the story far from the genre’s normal beat.

Denzel Washington stars homicide detective John Hobbes, with John Goodman as his partner Jonesy. The two men (working under a sinister lieutenant played by Donald Sutherland) recently cracked a murder case that sent a serial killer (Elias Koteas) to the gas chamber. After his death, though, the killings start again, and Hobbes and Jonesy start working a new case that seems to be the old case. Horror vets will know where this is going long before they do, but Hoblit ramps up the eerie tension as Hobbes’ life starts to unravel.

A lot of horror involves people encountering the supernatural for the first time and fumbling for a response that will let them survive, but the stakes always seem higher when the protagonist is in law enforcement and in theory has to follow procedures, obey rules, and presume innocence. (See also: The Hidden, Angel Heart, Longlegs, etc.) Washington makes for a terrific rule-following cop who’s stuck in a terrifying situation where none of the rules he’s learned can possibly apply. The result is a solidly creepy movie with just the slightest tinge of knowing camp. —Tasha Robinson

Where to watch: Prime Video, Peacock, Shudder

Creature feature directors often cite Jaws as inspiration for holding back on full monster carnage until the end — the less you show, the scarier it is. Screw off! If a movie promises a big mutant alligator terrorizing the city, then we best see a big mutant alligator terrorizing that city, and often!

Good news: Alligator is exactly that, with the added bonus of great performances, a wicked sense of humor, and a touch of social commentary.

Robert Forster (Jackie Brown, Breaking Bad) stars as detective David Madison, a cop with a reputation for doing good while losing his partners in the heat of action. When word of a killer alligator prowling the sewers reaches the surface, Det. Madison springs into action with a Dr. Marisa Kendall (Robin Riker), a herpetologist whose no-bullshit approach to amphibian research paves the way for a classic zinger-filled romance. Only the legendary John Sayles could squeeze a throwback screwball romance into a killer alligator movie and still find room to stick to the bumbling bureaucracy.

Much like Jaws, Sayles and director Lewis Teague interrogate the failed institutions that allow a 36-foot hyper-metabolic alligator to run rampant in Chicago — not only can the cops not get their shit together, but the alligator is only dino-like after consuming a biotech company’s discarded animal carcasses, all radiated with growth formula. Unlike Jaws, Teague puts his giant alligator puppet to good use, snapping its jaws on countless victims, from alleycats to random kids in a pool. Blood splatters, Chicagoans run for dear life, Det. Madison complains about his receding hairline, and by the end, things go boom. Alligator isn’t super scary, but it is a raucous good time, a cut above most monster B-movies of any era. —Matt Patches

Where to watch: Available to rent on Amazon and Apple

Park Chan-wook is in the top tier of living filmmakers for me, so of course I’m fond of even the “minor” works in his catalog. Stoker, his only English-language movie to date (although he’s made two English-language miniseries, including the fantastic The Little Drummer Girl), is an eerie, atmospheric psychological thriller that’s a perfect fit for people who want to participate in spooky season without getting too scared.

It’s India Stoker’s (Mia Wasikowska) 18th birthday. Her father (Dermot Mulroney) has died, and her mother (Nicole Kidman) has welcomed his younger brother (Matthew Goode) into their home. What follows is a Hitchcockian gothic fairy tale filled with sensory delight. The score is pitch-perfect in the eerie atmosphere it provides, and Park never fails to deliver memorable images.

Oh, and fun fact: The movie was written by Wentworth Miller, of Prison Break/CW-verse fame, under a pseudonym. —Pete Volk

Oct. 6: Doctor Who, “The Empty Child” and “The Doctor Dances”

Doctor Who has two tones: the triumph of intellect and romance over brute force and cynicism, and heebie-jeebie-inducing horror that keeps young viewers peeking through their hands, hiding behind the couch, or dreading the occasional nightmare about it for years.

This two-parter from the first season of the franchise’s 2005 reboot embodies the best of both. Sure, it’s the one that gave us the indelible Doctor line, “Just this once… everybody lives!” But it’s also an episode that made me, a grown-ass adult, terrified of my own ringing apartment intercom. Set in London during the Blitz, the Doctor and co. battle a strange plague that seems to be transmitted through phones.

The phone rings, you pick it up, a creepy little British child voice on the other end says, “Are you my mummy?” Five minutes later there’s a knock on your door, and the creepy little British child is there wearing a gas mask, saying “Are you my mummy?” and BAM, you’re a gas mask zombie now. Millions of Doctor Who fans have never recovered. —Susana Polo

Where to watch: MGM Plus, YouTube

Adrian Lyne’s flawed but engrossing psychological horror movie Jacob’s Ladder has had wide-ranging impact, given its moderate success, inspiring Konami’s Silent Hill game series and Christopher Nolan’s Oppenheimer. Chalk that up to the film’s frightening, hallucinogenic visuals, which symbolize Vietnam veteran Jacob Singer’s descent into madness.

Jacob’s Ladder is ostensibly a movie about an army vet and divorced dad making peace with his demons, which are presented as corporeal torturers in Lyne’s dark thriller. Jacob (Tim Robbins) experiences disturbing visions of shapeshifting apparitions pursuing him through a grimy and dangerous 1970s New York City. Searching for answers, Jacob learns he’s not the only one suffering from strange visions; members of his former platoon are, too, and they believe they were the victims of a secret government drug-testing operation.

As Jacob’s hallucinations intensify on a collision course with reality, he’s plagued by the memories of the family he’s separated from — which includes a very young Macaulay Culkin! — and guided by his fierce chiropractor, played by Danny Aiello. As the head-spinning truth about Jacob’s visions are revealed, Jacob’s Ladder practically demands an instant rewatch. That’s easy to recommend, because despite its nightmarish horrors and stylized gore, Lyne’s movie is also something of a strangely comforting rewatch. —Michael McWhertor

Where to watch: Shudder, Prime Video, Peacock

Magic is an inexplicable film in the filmographies of almost everyone involved in it. It’s a nasty little psychological chiller, a faintly grimy, sub-Hitchcockian programmer from 1978 about a ventriloquist whose life has been taken over by the vicious dummy who represents his id and is the reason for this troubled, introverted man’s unexpected success. But it stars Anthony Hopkins and is directed by Richard Attenborough from a script by William Goldman with a score by Jerry Goldsmith! You don’t get much more prestigious than that in ’78.

Fortunately, none of these luminaries condescend to the material or try to dress it up as something it’s not, and so Magic is just what it should be — a scary, twisted movie that’s by turns amusing and disturbing. Hopkins, who learned close-up magic and ventriloquism for the role, is mesmeric and uncanny in the film’s best scenes, which are just him arguing with himself as Fats (the dummy) tries to prevent Corky (the man) from reconnecting with his old love (Ann-Margaret). Magic is a bitter little pill that gets to the heart of why puppets are so sinister. —Oli Welsh

Where to watch: Criterion Channel

If you’re looking for a slow-burn psychological thriller with a brutal giallo-esque third act that’ll have you gripping the edge of your seat, Next of Kin is the horror movie for you. The film centers on Linda (Jacki Kerin), a young woman who inherits ownership of a retirement community from her estranged mother who has recently passed. As bizarre and unexplainable happenings begin to occur around the house, including a series of suspicious deaths, Linda grows to suspect that her mother’s death may not have been from old age and that she herself might be next.
With eerie slow-motion sequences and disorienting dolly zoom shots, Next of Kin conjures a sense of nauseating atmosphere and chilling terror that elevates it far beyond its “Ozploitation” origins. Compared favorably to Stanley Kubrick’s The Shining by none other than Quentin Tarantino, Next of Kin is a cult-classic horror film that’s more than worthy of making the time for. —TE

Oct. 10: Planet of the Vampires

Where to watch: Free with a library card on Hoopla, free with ads on Plex, or available to rent on Amazon and Apple

Mario Bava, often dubbed the “Master of Italian Horror,” made many iconic low-budget genre movies, including the legendary Black Sunday and the heist movie Danger: Diabolik. But I have a particular love for his sci-fi horror movie Planet of the Vampires.

Made on a budget of about $200,000, Planet of the Vampires follows a crew of space explorers who crash-land on… well, you know. It hits just about every conceivable aesthetic note you would want from such a venture. Bava claimed the set of the planet was composed of two plastic rocks and a set filled with smoke, which is simply remarkable when you consider how tangible the planet feels. You can see its influence all over the science fiction movies that have followed, from Ridley Scott’s Alien movies to the most recent Aquaman. —PV

Oct. 11: Scooby-Doo on Zombie Island

Where to watch: Max, or available to rent on Amazon and Apple

Here is the skeleton key to all modern media: Everyone wants to be Scooby-Doo on Zombie Island. Every single one! Scooby and the gang have broken up and gone their separate ways, until one intriguing case pulls them back in. And while Daphne is gunning for something bigger than a man in a costume, Mystery Inc. might have bitten off a bit more than they can chew with this one.

If you can remember the times when getting this bad boy on VHS was the height of both technology and cool points, then you remember the absolute right hook of a mystery that this 78-minute feature delivers. And in the years since, try as they might, Hollywood has chased that very high. The industry will try to get the gang back together, they’ll bring back old franchises that haven’t made a movie in a decade, and they will flip the script on who the “bad guy” really is. But Zombie Island, with all its Mystery Machine mannerisms and the pop punk delights of the “It’s Terror Time Again” sequence, is the blueprint, and the perfect addition to any spooky season (or just a spooky Saturday). —Zosha Millman

Where to watch: Prime Video, free with ads on Pluto TV and Tubi, or available to rent on Amazon, Apple, and Vudu

Laika’s follow-up to the much-beloved Coraline is just as creepy and quirky — and absolutely deserves more love. ParaNorman centers on Norman, a lonely 11-year-old who can see and speak to ghosts. His family is judgmental and his peers mock him, though he has one friend in a fellow outcast. The two boys meet Norman’s long-lost great-uncle, who can also communicate with ghosts, and he warns them that something sinister will soon fall upon the town.

The stop-motion animation is charming, and it certainly gets spooky at times, as zombies begin to attack the town. But it’s family-friendly enough that it never gets too scary; there’s just enough spooky paranormal antics for a fun little shiver down the spine.

There’s a familiar trope in Halloween-related media, where the ghost of a wronged witch (sometimes explicitly tied to the Salem Witch Trials, sometimes just in an adjacent witch trial in a similar New England town) wreaks havoc and mayhem. ParaNorman takes that trope and gives it a twist — one that resonates much more. —Petrana Radulovic

Oct. 13: The Coffee Table

Where to watch: Available to rent on Amazon and Apple

If you have a remotely sensitive nature regarding harm to kids, animals, and other innocents, consider yourself trigger-warned for this one, and definitely go in having been warned about the contents, or don’t go in at all. This ultra-bloody Spanish drama was made for the real sickos out there, and no others need apply. But if you’re down for that, I guarantee you’ve never seen anything like The Coffee Table, the darkest of dark comedies and the most edge-of-the-seat movie I’ve seen in a long time.

If you’ve ever had the anxiety nightmare where you suddenly remember that you did something unforgivably terrible that no one knows about, The Coffee Table will feel hauntingly familiar. David Pareja and Estefanía de los Santos star as Jesús and María, new parents who have been trying for a long time for a baby. María is bossy, controlling, and belittling; Jesús is defensive and trying to carve out a small space for himself, even if that just means picking out a coffee table for their home. When something goes terribly wrong with the ridiculously gaudy, tacky coffee table, Jesús enters a state of deep, fugue-like denial, with the audience left to wonder when María — and the couple’s dinner guests — will find out.

That sounds like a premise for a wacky sitcom, something Pedro Almodóvar might have directed in the 1980s. It isn’t. The Coffee Table is soaked with blood and dread, and it’s full of vivid emotions and increasingly excruciating tension. It’s a watch-it-in-the-dark-with-an-audience type of film where you’re likely to be able to hear everyone in the room with you holding their breath. Just make sure everyone on your movie-night invite list is also a sicko. —TR

Where to watch: Criterion Channel

In 1960, the same year Alfred Hitchcock shocked the world with Psycho, Michael Powell — half of the great British filmmaking team Powell and Pressburger, the magical romanticists of the 1940s and ’50s who made The Red Shoes — released a similarly intense and transgressive portrait of a psychopath: Peeping Tom. Psycho was a smash; Peeping Tom was reviled, and it sank Powell’s career.

They’re both daring movies, but it’s easy to see why Peeping Tom made viewers even more uncomfortable. The murderous villain, Mark (Carl Boehm), who preys on young women so he can film himself killing them, is also the protagonist, the point-of-view character for the audience (sometimes literally, in first-person shots), and a clear stand-in for the filmmaker. It’s all too close for comfort.

After being championed by the likes of Martin Scorsese, Peeping Tom is now regarded as a classic, and just as important a formative text for slasher movies as Psycho. But it remains truly disturbing to watch: lurid, grotty, and exploitative, yet at the same time sensitive, tragic, and damning about the violent voyeurism of filmmakers and audiences. In Peeping Tom, the scariest but most seductive thing is the viewfinder of a camera. —OW

Where to watch: Max, Peacock

Take cutthroat high school cliques and toxic girl bestie behavior and toss in a healthy dose of dark magic, and you get The Craft.

Sarah, a misfit teenage girl grappling with strange abilities, moves to LA, where she befriends three fellow outcasts: Bonnie, who bears burn scars form a terrible accident; Rochelle, who deals with racist bullies; and Nancy, who lives in a trailer with her impoverished mother and abusive stepfather. They notice Sarah’s power and convince her to join their coven. With four members, they can unlock their full potential and use their magic to get their deepest desires.

But magic comes with a cost, and even when they face the disastrous consequences of their actions, Nancy grows more and more power hungry.

It’s a wonderfully witchy time, though the real horror isn’t in the pagan rituals or escalating cost of magic, but how the toxic friend group splinters apart and eats itself alive. Oh, and the costumes are to die for. —PR

Oct. 16: Channel Zero: Candle Cove

Where to watch: Shudder, AMC Plus, and available to rent on Amazon and Apple

If this year’s I Saw the TV Glow whet your appetite for phantasmagorical horror centered around mysterious television shows with sinister undertones, the first season of Nick Antosca’s anthology series Channel Zero is a must-watch. Based on the “creepypasta” story written by cartoonist Kris Straub, Candle Cove follows the story of Mike Painter, a child psychologist who returns to his hometown decades after his twin brother and four other children were abducted and murdered by an unknown serial killer. The victims all had one thing in common: Each of them held a bizarre fondness for a pirate-themed children’s show called Candle Cove.

The first season of Channel Zero is a master class in gruesome, macabre storytelling and existential dread. Each of the six episodes feels like watching a skilled surgeon performing an autopsy, peeling away the layers of a long-buried horror to expose the dark heart still beating underneath. Not only that, but the costumes and special effects are as technically impressive as they are unsettling and grotesque. —TE

Oct.17: Encounters of the Spooky Kind

Where to watch: Criterion Channel

Best known for his collaborations with childhood friends Jackie Chan and Yuen Biao, the great Sammo Hung’s excellence as a director, choreographer, and performer are on full display here in what is frequently a one-man show.

Sammo directed the movie, co-wrote it, choreographed the action, and stars as Bold Cheung, a pedicab driver and skilled martial artist who’s also kind of a dolt. He is dared to spend the night in a haunted house with a hopping vampire — a dare he accepts, because he is “Bold” Cheung, after all. What follows is a Looney Tunes-style slapstick action horror movie with legitimate scares (the vampire makeup is terrific: gray with a gross texture, like a wet papier-mâché mask), dazzling rhythmic martial arts choreography, and perfectly placed dashes of comedy (there’s even an extended Duck Soup homage).

Biao co-stars as the silent vampire, and does a terrific job selling the undead creature’s fight sequences with stiff limbs and startling hops. This movie is colorful, funny, scary, tense, and an incredibly fun time. If you like the Evil Dead movies, this is one you must check out; Sam Raimi basically directly ripped one of Spooky Kind’s fight sequences for Evil Dead II. —PV

“YouTube horror movie” is a label that comes with an unfortunate amount of baggage. Usually, it connotes amateurishness and cheapness, not in the good way that horror fans normally love, but in a way that rings like a warning. However, the sketch comedy duo That’s a Bad Idea’s excellent and twisty found-footage thriller Milk & Serial shows that the stereotypes don’t always prove true.

The hour-long film from director and star Curry Barker follows a group of friends who run a prank YouTube channel. The main duo behind the channel are best friends, nicknamed Milk (Barker) and Seven (Cooper Tomlinson), who live together and consistently pull ridiculous pranks on each other. But when two overlapping pranks go horribly wrong, the two cause unforeseen chaos and tragedy and learn some very surprising things about each other.

To say much more would be to ruin some of the movie’s fun. The movie unwinds itself so expertly, with some of the best pacing of any horror movie (YouTube, streaming, theatrical, or otherwise) in years. Barker, who also wrote the movie, uses the found-footage format to play with our expectations of pacing, and dole out reveals at perfectly surprising moments. The character’s YouTube-style confessionals slip from funny and ridiculous to tragic and bizarre completely without warning, giving the whole thing an unsettling energy that never quite lets you rest.

Milk & Serial may not be the most terrifying movie on this list, but is the one thing a horror movie can be that’s better than scary: unique. It feels refreshing and inventive, unafraid to be silly, and well aware that earning laughs can help make the later scares hit harder. If horror is a genre of experiments and invention, then we’re lucky that YouTube is giving people like Barker space to scare us. —AG

Oct. 19: Godzilla vs. Biollante

Where to watch: Criterion Channel, Max

A standout from the series’ Heisei era, 1989’s Godzilla vs. Biollante has all the elements required of a great Godzilla movie: a grounded, contemporary message, dazzling visual effects, and a memorable, genuinely terrifying kaiju villain. The direct sequel to The Return of Godzilla even has a compelling human story that addresses loss and grief.

Whereas previous Godzilla films had explored the trauma of nuclear destruction, exploitation of nature, and the dangers of pollution, Godzilla vs. Biollante touched on the dystopian potential of modern science, particularly genetic engineering. It’s a Frankenstein story; scientist Genshiro Shiragami unwittingly creates the monster Biollante by combining cells from a rose, his dead daughter Erika, and Godzilla himself. Biollante is a tragic creature, and one of the most detailed and complex puppets of any Godzilla film. Battles between Godzilla and the ever-evolving Biollante are spectacularly gooey and gruesome.

Underpinning the story of Godzilla vs. Biollante is an international conflict in which human greed and a bloody struggle over scientific progress results in immense destruction and loss. There’s some cheesy acting — especially on the international side of things — but if the King of the Monsters squaring off against a giant mutant rose doesn’t scare you off, Biollante’s debut has the depth and charm of the best Godzilla movies. —MM

Oct. 20: Def by Temptation

Where to watch: Prime Video, Shudder, AMC Plus, Plex, Peacock

An aspiring pastor visits his struggling actor brother in New York, only to get caught in the web of a succubus who preys on local men. Though Troma handled its distribution, this 95-minute delight has more in common with ’70s Blaxploitation icons Ganja & Hess and Blacula than with Tromeo and Juliet or The Toxic Avenger.

Written, directed, produced, and performed by former child actor James Bond III, Def by Temptation is a true indie, shot for $5 million in less than a month. And yet, even with its financial limitations, crunched schedule, and creator wearing every possible hat, this ’90s horror gem is no less a crowd-pleaser than the many bigger names on this list. The gore is delightfully tacky. The sex is surprisingly tasteful. And frankly, it’s a shame only one member of the cast (Samuel L. Jackson) would become a mega-celebrity when each actor feels like a star in the making. —Chris Plante

Abbott and Costello Meet Frankenstein

Where to watch: Prime Video, and available to rent on Amazon and Apple

Move over, Dark Universe; in this house we only acknowledge one great Hammer horror shared universe, the 1948 slapstick comedy Abbott and Costello Meet Frankenstein.

Don’t mistake the name; it’s not just Frankenstein’s monster in attendance (played by Universal’s latter-day monster actor Glenn Strange, not Boris Karloff). Béla Lugosi is here as Dracula, the Monster’s new master who is on the hunt for a more biddable brain to furnish it with (enter our numbskull heroes, Chick and Wilbur, played by comedians Bud Abbott and Lou Costello). Lon Chaney Jr. is along as the guy desperately trying to warn everybody that Dracula is here, interrupted by the difficulties of being the Wolfman. Even Vincent Price gets a cameo as the voice of the Invisible Man.

Made in a time when Universal was nearly bankrupt and Abbott and Costello were severely on the outs, it just goes to show that sometimes, a desperate attempt at making somebody, anybody, a bunch of money can still result in one of the most beloved movie comedies of all time. —Susana Polo

Oct. 22: Garth Marenghi’s Darkplace

Where to watch: Prime Video, Peacock, Pluto TV

Garth Marenghi’s Darkplace is the type of show that you’ll watch one episode of and find yourself quoting from for the rest of your life. Created and written by Richard Ayoade (The IT Crowd) and Matthew Holness, the series is a horror parody series starring Holness as two characters: Garth Marenghi, a conceited horror author whose demeanor bears a passing resemblance to Harlan Ellison and William Friedkin, and Dr. Rick Dagless, the lead character of a fictional television show written and produced by Marenghi himself.

Presented as a recently unearthed TV series long thought to be lost to the annals of broadcast history, Garth Marenghi’s Darkplace is an ingenious parody of self-serious horror television packed with hilarious dialogue delivered through lightning-in-a-bottle performances by Holness, Ayoade, Matt Berry (The IT Crowd, What We Do in the Shadows), and Alice Lowe (Hot Fuzz). If you watch only one episode of the series, make sure it’s the first, “Once Upon a Beginning.” You won’t regret it, trust me. —TE

Oct. 23: Land of the Dead

Where to watch: Peacock, or available to rent on Amazon and Apple

All of George Romero’s “of the Dead” movies are worth watching, but this one might be the most underappreciated of the signature zombie franchise.

Set in a post-zombie apocalypse feudal Pittsburgh run by a deliciously wicked Dennis Hopper (have I sold you yet?), Land of the Dead has a different take on zombies: They are now organizing and setting up for an assault on the city. (Yes, go wild on the “my zombies have unionized” memes.) This society is one stratified across clear lines — if you’re lucky, you get to live within the city walls (but live a life of poverty on the streets). If you’re really lucky (read: rich), you get to live in a luxury apartment building ruled by a despot (Hopper). (Come to think of it, maybe the luckiest are already dead.) Like many other Romero films, Land of the Dead effectively wrestles with complicated themes, reflecting the problems of our current world through the distance of a fictional one. —PV

Oct. 24: Nosferatu (1922) & Nosferatu the Vampyre (1979)

Where to watch: Prime Video (Nosferatu); Prime Video, Peacock (Nosferatu the Vampyre)

It’s rare for a remake of a classic film to live up to the greatness of the original, but it’s even rarer for the two versions to stand alongside each other, with both adding to the greatness of the other. One such case is the two versions of Nosferatu: the original directed by F.W. Murnau and released in 1922, and the Werner Herzog-directed remake, Nosferatu the Vampyre, from 1979.

Murnau’s unauthorized adaptation of Bram Stoker’s Dracula remains one of the greatest movies ever made, a timeless silent horror about the creatures that lurk in the darkness and the dread they bring to the world whenever they decide they’re ready. It remains, to this day, a striking and deeply creepy movie with some of the most gorgeous images ever put on screen. This is all due in part to its incredible use of the form, with highly stylized sets and lighting creating massive, larger-than-life shadows that seem (even in black and white) to be darker than anything that we’ve ever seen in the real world.

Herzog’s version, which restores the names from Stoker’s novel, isn’t so much a reimagining of the original as it is an update to it. Murnau’s version feels like it takes place in a dream world, an unreal, exaggerated nightmare world; it’s horrifying exactly because it’s so unrecognizable from our own world. Herzog’s movie, on the other hand, feels decidedly and inescapably real. Herzog mimics many of Murnau’s iconic shots, but he does so with his own signature natural lighting, making the horror of Dracula’s pale face feel rooted in reality.

Because of this, the two films feel like both sides of one coin, not just compatible as viewing partners, but critical, the only way to see the completed vision. If Murnau’s film was about imagined ancient horrors come back to haunt a more modern world, then Herzog’s is the realization of those terrors, a vision of how much more real the monsters seem after 50 years of progress. —AG

Mike Flanagan is best known for his Gothic remixes: the searing family drama in The Haunting of Hill House, the wanton longing of The Haunting of Bly Manor, the doomed despair of The Fall of the House of Usher. But his Netflix oeuvre isn’t complete without his masterpiece, Midnight Mass.

Set in the small, dying community of Crockett Island, Midnight Mass is smaller and quieter than much of the horror that will mark this list. But its subdued mystery begets something deeper, more profound. Across seven episodes, Flanagan spins out the story of a priest bringing miracles to the town into a kaleidoscope of his own elegant questions and resentments of organized religion. The result is gorgeous, something clearly gestating for a long time and, thankfully, released when the filmmaker was equipped to capitalize. A blessing in dark times, indeed. —Zosha Millman

Where to watch: Free with a library card on Kanopy, or for digital rental/purchase on Amazon and Apple TV

Jeremy Saulnier is one of the most exciting working American filmmakers today. His latest, Rebel Ridge, is one of the best movies of the year, continuing his habit of making tense thrillers with simple but effective premises.

Before Rebel Ridge, the movie Saulnier was best known for was probably Green Room, another white-knuckle thriller with a strong setup: A punk band (Anton Yelchin, Alia Shawkat, Joe Cole, Callum Turner) are stuck at a neo-Nazi bar after witnessing a murder after a gig. Holed up in the green room, they have to figure out a way to survive in an extremely hostile environment.

Saulnier’s confident, economical direction and writing will keep you on the edge of your seat, and an absolutely terrifying Patrick Stewart as the leader of the neo-Nazi group is one of the most effective off-type casting choices of the century. —PV

The Outsider tells the story of a contradiction. All evidence places small-town Little League Baseball coach Terrence Maitland at the scene of the rape and murder of a local child. And yet, video and fingerprint evidence also places Maitland at a conference hundreds of miles away at the time of the crime. How can someone be in two places (and people) at the same time?

Stephen King published his novel The Outsider in 2018, right in the middle of the Trump presidency. King himself strongly refuted claims he’d penned The Outsider as a political statement, but the reading (can our neighbors carry within them two contradicting selves?) got under the skin of countless readers — and stayed there. The 2020 HBO adaptation is true to King’s novel, less interested in the murky subtext and more in the blunt horror of the original text. And yet, a similar reading lurks beneath its surface: the series’ alternate personality scraping to get out. —CP

Oct. 28: The Ghost of Yotsuya

Where to watch: Criterion Channel

While Nobuo Nakagawa is a director best remembered for his 1960 film Jigoku, a morality fable about an otherwise virtuous theology student who finds himself hellbound after a tragic accident, I still nevertheless maintain that his 1959 supernatural horror film is the best place to start for those unfamiliar with his work.

Adapted from a 19th-century kabuki play, the film follows the story of Iemon Tamiya (Shigeru Amachi), a dastardly reprobate who ambushes an honorable elder samurai to demand his daughter Oiwa’s hand in marriage. When he’s rebuffed, Iemon kills the samurai out of anger and concocts a scheme with Naosuke, a local criminal and witness to the murder, to convince the Oiwa and her sister Sode that the culprit was someone else. After marrying Oiwa, Iemon’s schemes only grow more elaborate and callous, culminating in a deception so foul that it stirs those he’s wronged to rise from the dead to exact vengeance.

Through its devious characters, tragic storyline, and ghoulish special effects, The Ghost of Yotsuya is the perfect entry point for Japanese horror fans to acquaint themselves with Nakagawa’s idiosyncrasies before diving headfirst into the cinematic hellmouth that is Jigoku. —TE

The Shining is almost too big a classic for this list. You might be thinking: We’re counting down to Halloween, and you come to me with one of the most beloved horror movies of all time, and one of the most beloved Stephen King adaptations ever made (assuming you’re not Stephen King)? Here’s the thing: Yes! Whenever you watched The Shining last, it has been too long, and consider this entry an opportunity to give yourself over to the powers of Stanley Kubrick’s triumph.

The powers of The Overlook, and the madness they enact on the poor Torrance family left to tend it during the frigid Colorado winter, are manifold and legendary at this point. Kubrick’s film unfolds like a paper fortune teller, revealing new layers and whole wings to the story with all the ease of unfurling paper. There is something new to be glimpsed in every viewing, whether it’s the depths of quiet that Shelley Duvall brings to Wendy or the way The Overlook’s layout beguiles. It is as big a genre-defining movie as you may ever get, and it’s never a bad time. —ZM

Of all the hat tricks horror directors pull off, possibly nothing is harder than making a horror-comedy authentically funny and nerve-wracking at the same time: Fear and laughter go really well together, but they also undercut each other, and finding the balance that makes a scary movie hilarious and unnerving at the same time is a rough process. Ready or Not sticks the landing. The premise — poor girl marries into an astonishingly rich family, who hunt her for sport on her wedding night — may sound like a ludicrous, over-the-top spin on the recent tide of eat-the-rich movies. But directors Matt Bettinelli-Olpin and Tyler Gillett lean into the camp aspect of the premise without sacrificing the horror of the hunt.

Samara Weaving (Babylon, Azrael, Bettinelli-Olpin and Gillett’s new Scream movies) stars as Grace, the pretty, fragile-looking new bride of old-wealth scion Alex Le Domas (Mark O’Brien). Grace is eager to impress her new in-laws, by which she means “go to family gatherings without embarrassing herself in spite of her lower-class origins,” not “give them a good hunt when they tell her about their family’s peculiar wedding-night tradition.” But that anxiety does push her to treat their offer of a midnight wedding-night game like it’s something normal and acceptable, at least until the weapons come out.

From there, Ready or Not is all about Grace being resourceful, determined, and creative as she tries to not die. Gillett and Bettinelli-Olpin fill the movie with twists and shocks, keeping the action lively, unpredictable, and bloody right up to the final shocker. This one stands with movies like The Princess and The Cabin in the Woods for unexpected humor in dark places, and unexpected horror in funny places. —TR