From major new releases to obscure cult classics, Hulu has horror movies for casual viewers and hardcore fans alike. Here are ten of the best horror movies to stream on Hulu.
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Dear White People creator Justin Simien comes up with a different kind of satire in Bad Hair, a period piece set in the world of cable TV in 1989. It’s a pitch-perfect recreation of an “urban” music video network, where the pressure to fit in drives young employee Anna (Elle Lorraine) to get hair extensions. Unfortunately, those hair extensions are demonically possessed and hungry for blood (but they look great).
A hurricane provides the perfect conditions for alligators to swim into town and chomp on people in the animal-attack horror movie Crawl. Director Alexandre Aja generates impressive suspense from his goofy premise, and star Kaya Scodelario keeps the movie grounded as the main character, a college student determined to rescue her trapped father (Barry Pepper) from both the rising waters and the deadly alligators.
The Dead Zone
In a time before Stephen King adaptations became ubiquitous, David Cronenberg brought a moody approach to his film version of King’s novel The Dead Zone. Christopher Walken plays a man who falls into a coma following a car accident and then wakes up with precognitive abilities. His glimpses of the future allow him to solve a string of local murders, and they later drive him to stop a politician (Martin Sheen) he believes will become a ruthless dictator.
Frankenstein and the Monster From Hell
The final movie in Hammer Productions’ Frankenstein series, Frankenstein and the Monster From Hell, doesn’t have much to do with Mary Shelley’s original novel. But it features yet another great performance from Peter Cushing as Hammer’s version of Frankenstein, here presented as both an inmate and a doctor at an insane asylum. Frankenstein teams up with another inmate/doctor to once again create life from dead tissue, which, of course, goes terribly awry.
The Last House on the Left
Horror legend Wes Craven made his filmmaking debut with 1972’s The Last House on the Left, a low-budget grindhouse thriller about a pair of teenage girls who are abducted and tortured while on their way to a concert. It’s scuzzy and mean, with a sensibility that was shocking to audiences at the time. The confrontational tone is a reaction to contemporary societal upheaval, though, with extreme conditions warranting an extreme response.
Let the Right One In
Swedish vampire drama, Let the Right One In, has a chilly premise to go along with its chilly setting. Lina Leandersson is mesmerizing as a preternaturally assured child who is actually an immortal bloodsucker, and whose friendship with a fellow young outcast hides a more sinister agenda. The story of two misfits finding each other is surprisingly tender, even as it reveals a whole history of horrors.
The World War II-set horror movie Overlord takes its time establishing its characters and setting, pulling off an intense war drama before even getting to the supernatural elements. A group of American soldiers come across a secret Nazi lab performing horrific experiments, and they’re the only ones who can stop these atrocities from being inflicted on the general population.
Filmmaker Brandon Cronenberg follows in the footsteps of his horror-icon father (David Cronenberg) with the graphic and unsettling Possessor. Andrea Riseborough plays a corporate assassin who can take over the bodies of other people, with Christopher Abbott as her latest victim. The movie explores questions of identity and morality while also providing trippy visuals and lots of stomach-churning violence.
Writer-director Neasa Hardiman draws from sci-fi horror classics like Alien and John Carpenter’s The Thing for her creature feature Sea Fever. The crew of a fishing boat, with a grad student (Hermione Corfield) hitching a ride, encounters a giant monster out in the ocean. The threat becomes even more insidious when the beast leaves tiny infectious larvae behind on the boat (and in the people).
Horror anthology movies are almost always inconsistent viewing experiences, and many are thrown together from completely unrelated pieces. The filmmakers behind Southbound solve that problem by having the various stories transition seamlessly from one to the next, with some continuing characters and locations, even from different creative teams. The result is a collection of stories that captures the eeriness of the empty desert in a variety of gruesome and suspenseful ways.