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Welcome to the first installment of what is going to be a monthly habit. Every month, we are pulling the three best horror films from every major streaming platform so you don’t have to spend forty minutes scrolling yourself into a bad mood and then giving up and rewatching something you’ve already seen.
One roundup, every platform, no filler.
Frankenstein (2025)
Oscar Isaac plays a Victor so consumed by his own ambition he stops registering as fully human, and Jacob Elordi’s creature is the one you end up rooting for the whole time. Del Toro’s long-awaited take is gothic horror that hits you in the chest more than the gut, but that’s the point. Elordi is doing some of the best work of his career under all that makeup. It’s on Netflix and it’s worth your night.
His House (2020)
A South Sudanese couple placed in a British asylum flat discover something living in the walls, and the film is smart enough to know the horror inside and the trauma they carried to get there are the same monster. If you haven’t seen it, that’s your assignment this month. Streaming on Netflix now.
Saw X (2023)
Setting this one between the first two films and putting a freshly diagnosed Tobin Bell front and center was the smartest move this franchise has made in years. It’s still a Saw movie, you know what you’re signing up for, but Bell actually gets something to work with here and he does not waste it. Great time, feel weird about it after, classic formula. On Netflix.
Sinners (2025)
Ryan Coogler set his vampire film in 1930s Jim Crow Mississippi and made the most-nominated film in Oscar history in the process. Michael B. Jordan plays twin brothers trying to build something in a place that wants them gone, and what unfolds is a horror epic that genuinely defies categorization. Put it on the biggest screen you have access to. Streaming now on Max.
MaXXXine (2024)
The final chapter in Ti West’s trilogy drops Mia Goth into 1985 Hollywood as Maxine Minx chasing her big break while a killer works through the back lots. It’s the most fun of the three films, slasher horror with a glossy period sheen, and Goth is a full movie star in it. A very good time, streaming on Max.
Get Out (2017)
If you haven’t seen it there is no excuse and you need to fix that today. If you have, it holds up better than almost anything from the last decade. Peele’s debut is still the sharpest horror film of the 21st century and Daniel Kaluuya in that chair is one of the great screen performances, full stop. It’s on Max. Go.
Longlegs (2024)
Osgood Perkins made a serial killer film more interested in cosmic dread than procedural logic and it divided every single person who saw it in theaters. Maika Monroe’s FBI agent operates at a frequency slightly outside normal human range, Nicolas Cage’s villain exists in a register that has no proper name, and the whole thing lingers. Streaming on Hulu now.
Cuckoo (2024)
Hunter Schafer gets dragged to a Bavarian resort by her family and something is very wrong with the owner, played by a magnificently unnerving Dan Stevens. It’s folk horror shading into body horror and the filmmaking is way more inventive than it had any obligation to be. There’s a bicycle set piece in this movie that is the single best pure horror moment of 2024 outside of The Substance. On Hulu.
Barbarian (2022)
A double-booked Detroit Airbnb that keeps revealing new layers of what’s actually happening every time you think you’ve caught up. Read nothing. Just put it on. One of the best horror films of the decade, full stop. Streaming on Hulu.
Alien: Romulus (2024)
Fede Alvarez stripped the franchise back to its essentials: young colonists, an abandoned station, something in the walls that should not be there. It’s the scariest Alien has been in decades and the practical creature work is legitimately impressive.
Saint Maud (2019)
A palliative care nurse whose faith curdles past the point of recovery. Rose Glass’s debut is 84 minutes of slow-burn psychological horror and Amanda Donahue carries every frame of it. Short, precise, and it stays in your body long after it’s over. On Prime Video now.
Let the Right One In (2008)
The Swedish original is still the definitive version and if you’ve only seen the American remake you owe it to yourself to go back. A lonely boy, a child-shaped vampire next door, and one of the most genuinely tender horror films ever made. Streaming on Prime Video.
Nosferatu (2024)
Robert Eggers’ Dracula is exactly as meticulous and unsettling as you’d expect. Bill Skarsgard plays Count Orlok as something ancient and physically wrong, Lily-Rose Depp is better than the pre-release noise suggested, and the whole film rewards a second watch more than almost anything from last year. Both the theatrical cut and a four-minute extended version are on Peacock right now.
Five Nights at Freddy’s 2 (2025)
Five Nights at Freddy’s 2 hits Peacock on April 3rd. Josh Hutcherson is back, Mckenna Grace joins the cast, the lore gets deeper, and the animatronics are still doing their thing. If you’re already a fan you know exactly what you’re doing this weekend.
The Shining (1980)
Always worth another visit. Nicholson is the obvious draw but on a rewatch the performance to actually pay attention to is Shelley Duvall, doing work that this film’s cultural conversation is only now starting to properly reckon with. A stone cold classic sitting on Peacock for free.
Earwig (2021)
A man hired to care for a girl whose teeth are made of ice and must be replaced daily. The film does not explain this further, which is exactly the right call. Slow, strange body horror that moves like a dream you can’t shake loose.
Three Extremes (2004)
Three short films, three directors: Fruit Chan, Park Chan-wook, Takashi Miike. Three completely different registers of horror and not a single punch pulled between them. If you want to understand where East Asian horror came from and what it could do at its peak, this is required viewing. Chan-wook’s segment alone justifies the whole runtime.
When Evil Lurks (2023)
Argentine folk horror about two brothers trying to contain a demonic entity in their rural community and making every wrong choice in exactly the order you’d fear. Demian Rugna follows the internal logic of his world without mercy, and it’s one of the most confident horror films made this decade. If it’s not already in your rotation, make it this month.
Check back the first of every month for the updated roundup. If something falls off a platform before you get to it, that’s streaming culture, and I’m sorry.
