The best horror movies on Hulu

The A.V. Club
·24 mins read
Clockwise from top left: The Host (Screenshot); Let The Right One In  (Screenshot); The Tall Man (Screenshot);The Nightingale (IFC Films); The Clovehitch Killer (Screenshot); Inside  (Screenshot);High-Rise (Screenshot)
Clockwise from top left: The Host (Screenshot); Let The Right One In (Screenshot); The Tall Man (Screenshot);The Nightingale (IFC Films); The Clovehitch Killer (Screenshot); Inside (Screenshot);High-Rise (Screenshot)

Streaming libraries expand and contract. Algorithms are imperfect. Those damn thumbnail images are always changing. But you know what you can always rely on? The expert opinions and knowledgeable commentary of The A.V. Club. That’s why we’re scouring both the menus of the most popular services and our own archives to bring you these guides to the best viewing options, broken down by streamer, medium, and genre. Want to know why we’re so keen on a particular movie? Click the author’s name at the end of each passage for more in-depth analysis from The A.V. Club’s past. And be sure to check back often, because we’ll be adding more recommendations as films come and go.

Some titles on this list also appear on our best movies on Hulu, but we decided horror films deserved their own spotlight since they are often not included on our year-end lists as much as other genres. The criteria for inclusion here is that (1) the film is classified by Hulu as a horror film (so don’t shoot the messenger if you think something is misgenred here), (2) The A.V. Club has written critically about the movie; and (3) if it was a graded review, it received at least a “B.” Some newer (and much older) movies will be added over time as Hulu announces new additions to their library.

Looking for other movies to stream? Also check out our list of the best movies on Netflix, best movies on Disney+, and best movies on Amazon Prime. And if you’re looking to laugh, check out our list of the best comedy movies on Hulu.

This list was most recently updated Oct. 16, 2020.

The Alchemist’s Cookbook

The Alchemist’s Cookbook
The Alchemist’s Cookbook

In many respects, The Alchemist Cookbook is a horror film, following the example of so many low-budget backwoods creepfests about ghouls and demons lurking among cracking branches and crinkly dead leaves. (Sam Raimi’s original Evil Dead is the obvious reference.) As Sean, Gimme The Loot’s Ty Hickson gives what is very nearly a solo performance, ranting, guzzling soda, wolfing down Doritos, listening to The Smoking Popes and a warbly recording of “Jingle Bells,” sacrificing an unfriendly possum to evil forces. Like the protagonist of Buzzard, Sean is identified with George Miller’s Mad Max; he wears a stiff metal brace over his left leg, à la The Road Warrior. He is director Joel Potrykus’ poignant version of the loner in the wasteland, calling on unseen forces to get back at a world that is also unseen. [Ignatiy Vishnevetsky]

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Blade

Wesley Snipes
Wesley Snipes

Within that genre, it’s an absolute classic, a fast and cheap American studio B-movie that integrated the tricks and physicality of Hong Kong martial arts movies and helped prepare the world for The Matrix. In the superhero realm, though, it might be even more important. Blade established a foothold for Marvel, which turned out to be huge. With Blade, Goyer and Stephen Norrington, the British director whose only previous credit was the horror flick Death Machine, constructed a world with a dazzling efficiency. Blade shows us a whole hidden society: a vampire world with its own politics and prejudices and grudges, operating in plain sight, with the cooperation of human authorities. The movie reveals its world piece by piece. Blade doesn’t devote its entire first act to its hero’s origin story. Instead, we’re halfway into the movie before we even learn how Blade has his powers, and we only get that story in a quick monologue from Whistler, Blade’s grizzled sidekick. When Blade first shows up—appearing suddenly at a blood-rave without a drop of hemoglobin on him, the entire room cowering at the sight of him—we know all about him that we need to know. And so the movie throws us headlong into action, giving us a truly great fight scene before Blade so much as says a single word. (If only more superhero movies had that sense of momentum.) [Tom Briehan]

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Blade II

Wesley Snipes
Wesley Snipes

Wesley Snipes returns to vampire-slaying duty in Blade II, and while he still cuts a grim figure, he’s surrounded by a film that’s everything Blade should have been but wasn’t: stylish, fast-paced, and comfortable with its own ridiculousness. Taking place two years after the original, Blade II finds Snipes’ half-human, half-vampire warrior fighting a new enemy: a vampiric super-sect so dangerous and feared that even the malevolent vampire establishment wants it destroyed. Having devoted his life to fighting vampires, Snipes is understandably reluctant to aid his hated foes, but agrees to help destroy the new breed before it can take over the earth. [Nathan Rabin]

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Body At Brighton Rock

Body At Brighton Rock
Body At Brighton Rock

Horror movies are full of reminders to stay out of the woods. And even if the ancient curses and masked psychos don’t get you, there are plenty of more mundane terrors waiting out there in the wilderness. Body At Brighton Rock, the taut survival thriller from genre director Roxanne Benjamin (Southbound, XX), takes the latter path, eschewing supernatural menace in favor of more realistic but equally primal fears: Wild animals. Dead bodies. Rustling noises in the dark. With these minimalist elements, Benjamin casts a nerve-fraying spell, playing tricks on the audience by putting us into the head of a young woman who, like most of us, has no business being out there in the first place. [Katie Rife]

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The Cabin In The Woods

Where Scream put a postmodern twist on slasher films, The Cabin In The Woods takes on the whole genre and twists even harder. Director Drew Goddard, screenwriter of Cloverfield and a veteran of Lost and Alias, co-wrote the film’s script with Joss Whedon, who worked with him on Whedon’s Buffy The Vampire Slayer and Angel. The script brings to the fore Whedon’s love of subverting clichés while embracing them and teasing out their deeper meaning. [Keith Phipps]

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The Clovehitch Killer

Dylan McDermott
Dylan McDermott

Not enough attention has been paid to The Clovehitch Killer, directed by first-timer Duncan Skiles, from a script by Cop Car co-screenwriter Christopher Ford, starring Dylan McDermott as a beloved small-town scoutmaster who may be a serial rapist and murderer. Lean On Pete’s Charlie Plummer plays the man’s son, in a story that unfolds in three distinct parts, each asking two unsettling questions: What if this seemingly upstanding, conservative Christian community leader is actually a dangerous criminal? And what is it about who he is and where he lives that might let him get away with something truly heinous? The Clovehitch Killer takes an unusually slow-paced and experimental approach to mystery and suspense, but it’s also a cogent critique of how “the culture wars” can provide a cover for someone whose sins are far beyond what his neighbors can imagine. [Noel Murray]

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Coherence

Emily Foxler
Emily Foxler

The minimalist sci-fi mindbender Coherence boasts a scenario as tried and true as the walking dead: Bickering individuals hole up in a house during a crisis, discovering that the threat looming beyond their walls may pale in comparison to the conflict happening within them. There’s a wrinkle in the design this time, however, and it’s that the characters are their own worst enemies not just in a figurative sense, but in a literal one, too. Confused? Writer-director James Ward Byrkit has the answers, and he’s not stingy about providing them. What separates his film from other exercises in Twilight Zone trickery is its refusal to play coy with a high concept. Unlike, say, the feature-length rug-pull The Signal, Coherence doesn’t get off on withholding. It would rather milk its premise for all it’s worth than stockpile secrets. The result is an uncommonly clever genre movie, reliant not on special effects—of which there are basically none—but on heavy doses of paranoia. [A.A. Dowd]

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Goodnight Mommy

Squirming just below the surface of Goodnight Mommy, a nerve-shredding thriller from far-flung Austria, is an almost comically predictable plot twist. Moviegoers hip to the true identities of Tyler Durden and Keyser Söze should figure it out by the end of the first reel, when the filmmakers have already begun to show their hand. But you don’t go to a midnight movie to have your mind blown. You go to have your stomach churned, your hairs put on end, your fingers forced over your eyes. And by that base criteria, this elegantly nasty little potboiler should satisfy those brave enough to brave it. They might see the big reveal coming, but that won’t help them unsee the horrors leading up to it. Nearly all of the film takes place in a secluded country house, surrounded by an idyllic forest and vast cornfields, perfect for frolicking and fleeing. This is the new home of 9-year-old twins Elias (Elias Schwarz) and Lukas (Lukas Schwarz), as well as their mother (Susanne Wuest), an anchorwoman who’s just undergone cosmetic surgery. To these troublemaking boys, there’s something not quite right about Mommy: Beyond her strange, frightening appearance—a pair of bloodshot eyes peeping out from behind a mask of bandages—she just seems different. For one thing, she’ll barely acknowledge Lukas’ existence, addressing only Elias and providing the boys with a single dinner, one set of clothes in the morning, etc. Soon, the brothers begin to wonder if it’s someone else entirely under all that gauze—if, in fact, their mother has been replaced by a malevolent imposter. [A.A. Dowd]

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Hellraiser

Working with a modest budget, director Clive Barker created a bloody fairy tale complete with a wicked, if not quite evil, stepmother in the form of theater actress Clare Higgins. Playing the wife of ineffectual husband Andrew Robinson (Dirty Harry), Higgins barely hides her contempt as the two move into a family house once inhabited by Robinson’s hard-living, now-missing brother, with whom Higgins once had an affair. Thanks to supernatural forces, Robinson’s brother returns, sort of, as a skinless pile of organs that entreats Higgins to kill for him in an effort to flesh out his half-formed body. Meanwhile, Robinson’s scream-prone daughter (Ashley Laurence) begins to suspect that matters might be amiss, a suspicion confirmed by the arrival of four pale demons fitted out in bondage gear. One of these, a bald demon with nails pounded into his skull, has become the most enduring image of Hellraiser and its sequels, and rightly so. A deeply unsettling, S&M-inspired creature whose blurring of the division between pleasure and pain extends to a blurring of the division between good and evil, it neatly and instantly sums up some of Barker’s themes. Pinhead barely appears in Hellraiser, a film that, with its intense and uncomfortable family drama, might have even worked without him. With him, however, it becomes one of the most innovative and memorable horror films of the ‘80s, a middle ground between mainstream fare and the work of David Cronenberg, in its most powerful moments conjuring up the latter’s ability to make viewers feel uncomfortable in their own bodies. [Keith Phipps]

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High-Rise

Tom Hiddleston
Tom Hiddleston

High-Rise, a darkly funny adaptation by cult English director Ben Wheatley (Kill List, A Field In England) of the J.G. Ballard novel of the same title, preserves the book’s ’70s setting, steeping its vision of a toppling society in retro decadence. Dr. Laing (Tom Hiddleston, very good), a bachelor physiologist from apartment 2505, watches as the titular building regresses into a Mad Max-esque wasteland of garbage barricades, raiding parties, and literal class warfare following a few blackouts and a problem with the trash chute—a descent into collective madness that High-Rise underplays and elides to surreal (and audience-defying) effect. Wheatley’s use of ellipses and his overall refusal to do anything that might suggest a point of view or invite identification skirt incoherence. As in Ballard’s novel, the building isn’t just a dystopian microcosm of alienation and stratification, with the wealthiest living at the top. It also seems to create a new reality of its own: a killer cocktail of claustrophobia, stylishness, and oblique irony. [Ignatiy Vishnevetsky]

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The Host

Bong Joon-ho’s vastly entertaining creature feature The Host shattered box-office records in its native South Korea, which counts as an encouraging sign that Hollywood has lost its monopoly on effects-heavy escapism. But even that achievement sells short the film’s specific virtues, like a daylight monster attack that could stand toe-to-toe with anything in Spielberg’s oeuvre or the playful mix of tones that made Bong’s previous film, Memories Of Murder, so distinctive. It can also be appreciated as a sweeping metaphor for America’s toxic intervention abroad, though never to the point where it could be accused of high-mindedness. Most of all, The Host functions as a popcorn movie par excellence, loaded with the most familiar conventions, but shot through with such conviction and visual panache that even its clichés seem invigorating. [Scott Tobias]

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Hostel: Part II

Hostel: Part II
Hostel: Part II

To dismiss the Hostel movies as thoughtless “torture porn” of the Saw variety doesn’t do justice to the sophistication behind them, even if that sophistication is undermined on occasion by dumb juvenilia. The first Hostel, though rough around the edges, spoke to the very real anxieties of Americans in a post-9/11 world; no longer was the world a playground for frat guys and bad behavior overseas could result in a little blowback. Though he might have just offered another slab of young backpackers (women this time) to deepest Slovakia, writer-director Eli Roth changes the metaphor in Hostel: Part II by focusing almost as much on the torturers as the tortured. Because these victims are sold off to the highest bidder, the film literally considers the cost of human life and the power of money to afford experiences that are supposed to be priceless. It’s also, in its sick, sick way, a real crowd-pleaser. [Scott Tobias]

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Inside

Inside tells the heartwarming Yuletide tale of a single mother near the end of a pregnancy who spends her Christmas Eve fleeing a deranged woman who wants to cut the baby out of her stomach and claim it as her own. So far, so good. Not to all tastes, granted, but a perfectly hooky premise for the new breed of French horror movies, which thrive on intensity and provocation. While having an involuntary C-section performed with a blood-spattered pair of scissors creates a degree of risk for the baby, it’s important to keep in mind that both women are interested in a healthy delivery. Their dispute is over who should be the baby’s mother. And settling such disputes with sharp implements is what slasher movies are all about. [Scott Tobias]

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Let The Right One In

In the Stockholm suburb of Let The Right One In, terrible things can happen just out of sight. Kåre Hedebrant, a 12-year-old child of divorce, knows this well; he frequently falls victim to a pack of bullies in empty bathrooms or deserted hallways between classes. His new neighbor Per Ragnar knows it too. He uses the dark woods to drug passersby and drain them of blood while headlights flash on a nearby street. In the dark, victims and victimizers find common ground.

Hedebrant has another new neighbor in Ragnar’s apartment, 12-year-old Lina Leandersson, who introduces herself to Hedebrant with the words, “I can’t be your friend,” then proceeds to spend every evening with him in the halfhearted park outside their apartment complex. Sometimes she smells bad and looks haggard. At other moments, she looks like a girl in the flush of youth. Meanwhile, residents keep disappearing, and Hedebrant starts to put two and two together about why he never sees his new friend in daylight. [Keith Phipps]

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The Lodge

The Lodge
The Lodge

The stranded family of The Lodge are locked in a cold war even before the harsh weather strands them indoors. Teenage Aidan (It’s Jaeden Martell) and his younger sister, Mia (Lia McHugh), give a chilly reception to their father’s new fiancé, Grace (Riley Keough). Their resentment runs deeper than the usual reluctance to warm to a surrogate parent; it stems from a trauma The Lodge inflicts early, the tragedy and unspeakable loss—a jolt of shattering violence—that sends the plot into glacial motion. Grace, as it turns out, has deep wounds of her own. Her father was the leader of a radical Christian cult whose entire congregation committed suicide when she was 12, leaving her the only survivor. The first real glimpse we get of her is in the front seat of a car, back to the camera, eyes in the rearview mirror. They want to appear friendly. They mainly look haunted. [A.A. Dowd]

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Lords Of Chaos

Lords Of Chaos
Lords Of Chaos

The true-crime elements of the Norwegian black metal scene have been extremely well documented over the past 25 years, in documentaries (Until The Light Takes Us), podcasts (Disgraceland and Last Podcast On The Left, among others), innumerable magazine articles, and the Michael Moynihan and Didrik Søderlind book from which Lords Of Chaos takes its name. And that’s understandable, because from a morbid fascination standpoint, this story has everything: suicide, murder, satanism, church burnings, even (rumored) cannibalism. Lords Of Chaos begins with the first of those, as Euronymous (Rory Culkin) and his deeply troubled roommate, Dead (Jack Kilmer), bang out brutal-but-sloppy black metal for their friends in theatrical live shows at the run-down country house where they live—that is, until Dead’s obsession with suicide culminates with his self-inflicted death by shotgun. Euronymous finds the body, and in a revealing moment, decides not to call the police. Instead, he takes a picture of his friend’s corpse and uses it as the cover of a live bootleg album. (Don’t click this link if you’re squeamish in any way.) [Katie Rife]

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Mother

The best murder mysteries start small and build outward, becoming less about the crime and more about the community where the crime took place, and the evolving psyches of the investigators. Bong Joon-Ho’s Mother starts with the fairly pathetic case of a mildly developmentally disabled adult accused of killing a promiscuous teenage girl from an uncaring family. Then the movie expands to take the measure of the small South Korean town where the murder took place, and of the woman who sifts through clues in order to learn the truth. The woman (played by the remarkable Kim Hye-Ja) is the mother of the accused, and seeking more than vindication for her boy. She brought this kid into the world and taught him how to conduct himself, and if he actually killed somebody, then maybe he’s merely the murder weapon, and she’s the culprit. [Noel Murray]

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My Friend Dahmer

My Friend Dahmer
My Friend Dahmer

My Friend Dahmer, a coming-of-age drama tracing the struggles of an adolescent Jeffrey Dahmer to fit in at his high school, is going to make some viewers uncomfortable. Some may even lash out against the film, deeming it insensitive toward the families of the 17 men and boys Dahmer raped, murdered, and dismembered before he was apprehended in 1991. And the film does make a bold request of its audience: to try to understand, and even sympathize with, a teenage boy who, at times, seems like any other tortured adolescent—until you remember that he went on to murder 17 men and boys. If there wasn’t a Jeffrey at your high school, the movie implies, you may have been the Jeffrey. [Katie Rife]

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The Nightingale

The Nightingale
The Nightingale

Jennifer Kent’s The Nightingale is a Western revenge yarn of such heightened cruelty and suffering that it basically demands to be read as allegory. Westerns, as a rule, are violent, and that perhaps goes double for the Aussie ones, which tend to be more pitiless than their American cousins, stripping the genre of its romance and derring-do. Even by those standards, The Nightingale is tough to take. Set in the Oz of 1825, it confronts audiences with the full horror of colonialism, including enough scenes of sexual assault to warrant the trigger warning offered up before several screenings of the film. But while what we see and can never unsee over the course of a grueling two-plus hours is certainly extreme, it’s not gratuitous. That’s partially because Kent, who made the spectacular spookfest The Babadook, isn’t some B-movie shockmeister, rubbing our noses in ugliness for the sake of it. She’s pulled back the veil of awful history to find a cracked reflection of the modern world—and a corresponding, hard-won beauty in solidarity among survivors. [A.A. Dowd]

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Paranormal Activity 3

The first two Paranormal Activity movies referenced the past, when two sisters first encountered a hostile specter as children. Delving into a box full of VHS camcorder tapes, the third revisits that childhood in 1988, when “Toby,” an imaginary friend that isn’t so imaginary, begins tormenting the girls, their mother, and their stepfather in a California home. Paranormal Activity 3 also has one new technical wrinkle, and it’s brilliant: In addition to the cameras in the bedroom, Smith mounts a third to the base of a rotating electric fan, so it pans back and forth from the dining room to the kitchen and back again. Playing with action in and out of frame has been the series’ stock in trade—without an effects budget, the audience’s imagination will have to do—and Joost and Schulman exploit the rotating camera for all it’s worth, picking up disturbances that appear and disappear with each scan. The mythology behind the series feels all the more grafted-on this time around—and it presumably extends all the way back to the Lumière brothers—but the Paranormal Activity movies are built on fundamental horror concepts, and those fundamentals still hold. [Scott Tobias]

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Parasite

Parasite
Parasite

The last time Bong Joon Ho made a parable of class warfare, he set it aboard one hell of a moving metaphor: a train looping endlessly around a frozen Earth, its passengers divided into cars based on wealth and status, upward mobility achieved only through lateral revolution. Parasite, the South Korean director’s demented and ingenious new movie, doesn’t boast quite as sensational a setting; it takes place mostly within a chicly modern suburban home, all high ceilings, stainless steel countertops, and windows instead of walls, advertising the elegant interior decoration within. But there’s a clear class hierarchy at play here, too; it runs top to bottom instead of front to back, vertically instead of horizontally. And though we’re watching a kind of warped upstairs-downstairs story, not a dystopian arcade brawler, Parasite races forward with the same locomotive speed as Snowpiercer, with plenty of its own twists and turns waiting behind each new door. [A.A. Dowd]

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A Quiet Place

A Quiet Place
A Quiet Place

Nothing in his previous work behind the camera suggested that John Krasinski was any kind of master craftsman. But maybe the nine sitcom seasons he spent emoting directly to the camera taught the Office-drone-turned-director something about nonverbal storytelling, as he does wordless wonders with this taut suspense contraption about an Earth hushed into silence by blind, echolocating monsters. The sleeper hit of the year, A Quiet Place smuggled some pure visual filmmaking into the multiplex, getting moviegoers to sit still (and, yes, maybe even shut up) for a nearly dialogue-free portrait of a family in mourning. The monsters helped, of course. [A.A. Dowd]

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Shirley

Shirley
Shirley

Suffering has long been characterized as a woman’s lot, canonized in the form of Catholic saints and celebrated in literature and art. (Pablo Picasso merely made it explicit when he said, “Women are suffering machines.”) To defy this edict will bring further misfortune, leaving only two choices: either smile and let your soul die piece by indignant piece, or embrace the darkness and learn to enjoy it. Josephine Decker’s Shirley is about a woman who opted for the latter: Shirley Jackson (played here by Elisabeth Moss), author of high-school staple “The Lottery” and the oft-adapted The Haunting Of Hill House. Mocked by her peers, mistreated by her husband, and burdened by mental illness, Jackson lived with the psychic evils that lurk in her writing. But for Decker, what’s important about Shirley’s misery is how she used it to fuel her work. [Katie Rife]

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Southbound

Southbound
Southbound

Heartless evildoers receiving their ironic comeuppance have been a horror staple since the days of EC Comics. The indie horror anthology Southbound puts a contemporary spin on this tradition, presenting five tales of irreversible decisions and their gruesome consequences. Sometimes the lessons in these mini-morality plays are ploddingly obvious—especially when Larry Fessenden explicitly explains them in his cameo role as a radio DJ—but then again, the same can be said for Tales From The Crypt. Set against the bleak landscape of the Southwestern desert, the segments overlap on several levels. Besides the Monty Python-style transitions, in which characters from one episode appear in the next, the movie also maintains a certain stylistic consistency throughout, which has its pluses (the segments share a timeless feel, à la Bates Motel) and minuses (shaky hand-held camerawork is an unfortunate constant). Regardless, that cohesion is a credit to the creative forces behind the film, and a welcome change from the wild inconsistencies of horror anthologies like the ABCs Of Death series. [Katie Rife]

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The Standoff At Sparrow Creek

It’s impossible to make a movie about a militia without at least a faint aroma of the political. It’s not even an “...in the age of Trump” issue; heavily armed right-wing paramilitary organizations of the type depicted in The Standoff At Sparrow Creek have been hovering in the background of the American cultural consciousness since at least the ’90s, when the Ruby Ridge standoff of 1992 brought these sorts of white male terror cells to the fore. Of course, depiction is not the same as endorsement, and although someone with the same paranoid mindset as the characters in The Standoff At Sparrow Creek might undoubtedly find romance in the film’s apocalyptic masculinity, writer-director Henry Dunham keeps the specifics of the group’s politics vague. Aside, anyway, from their intense hatred of police and a belief in an ambiguous-yet-imminent apocalypse. But rather than defanging the story, sanding down The Standoff At Sparrow Creek’s political implications foregrounds its exceptional dialogue and strong performances, revealing the lean, punchy, beautifully shot ’70s-style thriller underneath the controversial premise. [Katie Rife]

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The Tall Man

Jessica Biel
Jessica Biel

With his notorious debut feature, Martyrs, French director Pascal Laugier made the torture-porn movie to end all torture-porn movies, not only because it could hardly be more extreme—only the risible A Serbian Film ups the ante in that department—but because it acted as a meta-commentary on the subgenre. Laugier does not try to top himself in The Tall Man, his peculiar follow-up, and it seems at first that he’s sublimating his darker instincts for a conventional English-language horror movie. But Laugier is a sly devil, and just like Martyrs, The Tall Man turns on a well-planted twist that leaves horror behind for psychological intensity and a much larger and more ambitious plot mechanism. It doesn’t try for anything like the first film’s shock value, but it’s novel, thought-provoking, and defiant of genre expectations. [Scott Tobias]

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Tragedy Girls

Finally, millennials have a Heathers of their very own. Actually, that’s not quite right: Imagine instead a Heathers that gleefully goes all the way past the point of nihilism, and ends up in a warped funhouse mirror reflection of society that blends camp and satire in equal measure (with a heaping dose of gore liberally applied throughout). Reimagining high school murderers for the age of Instagram, Tragedy Girls casts Alexandra Shipp (X-Men: Apocalypse) and Brianna Hildebrand (Deadpool) as social media-obsessed high schoolers who kidnap a serial killer—not to kill him, but to learn how to more effectively stage their own attacks, the better to boost the numbers on their YouTube show. And that’s just the first five minutes of this nastily effective comedy-horror, which takes genre clichés and runs them through a candy-coated ADHD wringer, leaving you bloodied and smiling at the end. [Alex McLevy]

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