2024 proved itself to be another stellar year for horror, with a diverse array of films that pushed the boundaries of the genre while delivering thrills, chills, and unforgettable storytelling. From deeply personal tales of transformation to inventive reimaginings of classic tropes, this year’s lineup showcased the immense versatility of scary movies and their ability to resonate with audiences on raw emotional levels. In a time where the genre often intersects with social commentary, technological anxiety, and profound explorations of identity, these films prove that horror remains one of the most compelling and boundary-pushing forms of cinema.
This collection of the year’s very best horror films ranges from tender meditations on grief and identity to nerve-shredding thrill rides and bold artistic experiments. From zombies to ghosts to demons and everything in between, each of these films brings something unique to the table, demonstrating not only the creativity of the genre but also its power to provoke thought and elicit visceral reactions. Whether you’re a seasoned horror fanatic or just looking for something new to sink your teeth into, these films are sure to satisfy that bloodlust.
‘I Saw the TV Glow’
Director Jane Schoenbrun delivered an exceptionally haunting take on loneliness in the digital age with their debut, We’re All Going to the World’s Fair, but their second feature film, I Saw the TV Glow, solidifies them as a truly essential cinematic voice. The story centers on two troubled teenagers, Owen (Justice Smith) and Maddy (Brigette Lundy-Paine), who bond over their favorite television show, “The Pink Opaque”. But as time passes, the boundaries between their realities and identities begin to blur, and their shared obsession spirals into something both terrifying and transformative.
I Saw the TV Glow is more than just a horror film; it’s a deeply moving metaphor for transness and gender dysphoria, seamlessly blending chilling genre elements with raw emotional depth. Schoenbrun crafts a uniquely tragic tone, embedding the narrative with a melancholic yearning that few horror films achieve. It’s the rare kind of movie that not only frightens but also resonates profoundly with its audience, offering solace and understanding to those who see themselves in its story. Balancing scares with unique catharsis, this is a film destined to be dissected, debated, and cherished for generations. Don’t miss out - it’s bound to be a cultural touchstone.
‘Late Night with the Devil’
Led by an outstanding central performance from David Dastmalchian, Late Night with the Devil is a thrilling blend of supernatural horror and biting social commentary. Set on Halloween night of 1977, the film takes place during a live taping of television personality Jack Delroy’s (Dastmalchian) talk show, where he’s invited an eclectic lineup of occult-themed guests to mark the spooky occasion. Among them is Lilly (Ingrid Torelli), a young girl claiming to be possessed by a demon. What begins as a sensational television stunt quickly devolves into a chaotic nightmare as sinister forces take hold, turning the kitschy set into a battlefield of survival.
Written and directed by Colin and Cameron Cairnes, the film excels in crafting a unique atmosphere of retro terror, blending vibrant 1970s aesthetics with masterful practical effects. The narrative’s live-on-air setting heightens the tension as the crew and guests scramble to maintain control in front of an unsuspecting audience. Dastmalchian’s magnetic performance grounds the chaos, delivering a nuanced portrayal of a man whose desperation and ambition make him both flawed and fascinating. Equal parts fun and disturbing, Late Night with the Devil is a clever, fast-paced slice of possession horror that lingers long after the credits roll.
‘Handling the Undead’
After the global boom in zombie media spurred by The Walking Dead, the undead monster quickly became overexposed, with new stories rarely breaking the mold. Enter Handling the Undead, the debut feature from Norwegian filmmaker Thea Hvistendahl, which revitalizes the subgenre with an emotionally profound and deeply human approach. The film revolves around three families mourning recent losses: a mother (Renate Reinsve) grieving her young son, an elderly woman (Bente Børsum) yearning for her lost lover, and a father (Anders Danielsen Lie) navigating life without his wife. When the dead inexplicably return to life, each family grapples with the unimaginable in starkly personal and devastating ways.
Hvistendahl eschews typical zombie action in favor of a slow, contemplative narrative style, almost meditative in its portrayal of grief and sorrow. The haunting, minimalist cinematography and Peter Raeburn’s evocative score evoke a sense of quiet devastation, making the supernatural elements feel eerily grounded. This isn’t a film for thrill-seekers expecting gore and chaos; it’s a thoughtful exploration of loss and the fragile boundaries between life and death. With its raw emotional resonance, Handling the Undead stands out as a poignant reinvention of a genre that’s far too often far too formulaic. It’s a must-see for those who appreciate a more arthouse approach to the things that keep us up at night.
‘The First Omen’
This legacy prequel to the 1976 horror classic The Omen manages to stand tall on its own, delivering a fresh narrative that refrains from simply relying on the franchise’s past glories. Directed by Arkasha Stevenson, the film follows Margaret (Nell Tiger Free), a young nun-in-training who travels from America to Rome, only to uncover a sinister conspiracy within her convent. As her faith and sanity are tested, Margaret becomes entangled in a harrowing tale of deceit, demonic influence, and moral corruption.
What makes The First Omen so compelling is its willingness to push the boundaries of horror, exploring themes of institutional betrayal and spiritual manipulation in ways that feel both timeless and chillingly relevant. Stevenson’s direction brings a palpable tension and gothic elegance to the film, while Nell Tiger Free delivers an astounding central performance that anchors the story with raw vulnerability and fervor. Boosted by a genuinely evil atmosphere, the movie transcends its status as a prequel, offering a haunting and provocative experience that rivals and at times even surpasses the original.
‘Oddity’
Irish filmmaker Damian McCarthy (Caveat) delivers an unnerving and unpredictable thriller with Oddity, a tightly constructed tale of mystery and psychological terror. The story centers on Darcy (Carolyn Bracken), a blind psychic determined to uncover the truth behind the brutal murder of her twin sister. Confined to a single, eerily oppressive location, Darcy must rely on her heightened senses and psychic abilities to piece together the clues, even as an ominous presence threatens her every step.
What makes Oddity so striking is McCarthy’s mastery of tension and his innovative approach to the horror genre. The film reinvents the jump scare, using sound, shadow, and clever misdirection to keep audiences on edge. Carolyn Bracken’s performance as Darcy is both commanding and vulnerable, making her a uniquely compelling protagonist in a genre often dominated by stock characters. With its minimalist setting and claustrophobic atmosphere, Oddity proves that sometimes, less is more when it comes to creating a truly chilling experience.
‘The Devil’s Bath’
Austrian filmmakers Veronika Franz and Severin Fiala (Goodnight Mommy, The Lodge) return with The Devil’s Bath, a relentlessly bleak exploration of despair and superstition in 18th-century Austria. Based on historical trial records and Kathy Stuart’s book Suicide by Proxy in Early Modern Germany: Crime, Sin and Salvation, the film follows Agnes (Anja Plaschg), a young woman struggling to adapt to the confines of married life. As societal pressures and archaic beliefs weigh heavily on her, Agnes becomes consumed by dark thoughts, leading to a harrowing descent into madness.
What sets The Devil’s Bath apart is its unflinching portrayal of human suffering and its refusal to offer easy answers or moments of respite. Franz and Fiala’s direction creates a suffocating atmosphere, immersing viewers in a world where hope feels as distant as the sun. Anja Plaschg delivers a haunting performance, embodying Agnes’s anguish with devastating realism. Be warned: this is not a film for the faint of heart, but for those willing to endure its darkness, The Devil’s Bath offers a powerful and unforgettable meditation on mental health and societal cruelty.
‘Longlegs’
Oz Perkins solidifies his reputation as a master of atmospheric horror with Longlegs, a haunting tale of obsession and evil set in the grainy, analog haze of the 1990s. Maika Monroe stars as FBI agent Lee Harker, who is tasked with hunting down a Satanic serial killer played with chilling unpredictability by Nicolas Cage. As Lee delves deeper into the case, she finds herself drawn into a world of malevolent forces and repressed memories that challenge her perceptions of morality and justice.
What makes Longlegs so captivating is Perkins’s ability to craft a true sense of dread that lingers long after the credits roll. The film’s slow-burn narrative is punctuated by shocking moments of violence and dread, making it a truly unsettling experience. Monroe and Cage deliver powerhouse performances, with Cage embodying a villain who is as bizarre as he is terrifying. With its rich visual style and deeply unnerving story, Longlegs is a standout entry that begs for repeat viewings.
‘The Substance’
Coralie Fargeat (Revenge) returns with The Substance, a grotesque and darkly satirical take on body horror that’s both visually stunning and viscerally unsettling. The film stars Demi Moore as aging superstar Elisabeth Sparkle, whose desperation to regain her old glory leads her to a miracle drug dubbed “The Substance”. It allows people to transform into a younger, “better” version of themselves, which turns Elisabeth into the beautiful Sue (Margaret Qualley). But sticking to the explicit rules of the drug and its usage proves to be more difficult than expected, and what begins as a twisted fairytale about reinvention quickly spirals into a grotesque exploration of identity and superficial obsession.
Fargeat leans into the genre’s most excessive tendencies, delivering a film that revels in its grotesque imagery and dark humor. The visual effects are nothing short of jaw-dropping, recalling classics like The Fly and Videodrome, while the script’s biting commentary keeps everything on a hilariously surreal plane. The Substance is unapologetically bold, a cinematic gut-punch that dares to ask: How far would you go to stay relevant in a world obsessed with youth and perfection?
‘Smile 2’
Writer and director Parker Finn turned a lot of heads when his feature debut, 2022’s Smile, became a surprise horror hit. Audiences were blown away by how a simplistic setup transformed into a terrifying psychological spiral, so when it was announced that a sequel was on the way with Finn at the helm once again, Smile 2 quickly became one of the most anticipated titles of 2024, horror or otherwise. And boy, does it deliver. Smile 2 is a masterwork of terror, a sequel that doesn’t just go bigger but better in all the right ways.
Global pop superstar Skye Riley (Naomi Scott) is all set to launch a massive comeback tour after some time away from the spotlight, but when she suddenly witnesses a traumatic death, she finds herself in the terrifying grip of a demonic curse. Skye’s already fragile and overwhelmed mental state rapidly deteriorates as she starts experiencing vivid hallucinations. Trauma, depression, anxiety, self-loathing, and the pressures of stardom all collide in a cacophony of madness as her mind is torn asunder by the demonic smiling entity. Anchored by a stunning central performance from Scott, who should immediately take the crown for this year’s one true Scream Queen after this, Smile 2 is a superior sequel that’s mean, lean and about as gruesome as a major studio film can get.
‘Nosferatu’
Robert Eggers (The Witch, The Lighthouse) brings his unique talent and specificity for period pieces and applies it to a classic in the truest sense with Nosferatu, a remake of F.W. Murnau’s landmark 1922 silent film. With a star-studded cast, gorgeously macabre visuals, and a powerful score from Robin Carolan, Eggers delivers a truly breathtaking piece of modern gothic horror. Sent out on a business venture, a man named Thomas Hutter (Nicholas Hoult) travels overseas to the castle of the reclusive and mysterious Count Orlok (Bill Skarsgård). Once there, both he and his wife back home, Ellen (Lily-Rose Depp), begin suffering from strange nightmares and hallucinations, falling under the sinister spell of Orlok as he reveals himself to truly be a demonic vampire of immense power.
Eggers obvious passion towards this classic tale bleeds through into every frame. His version is a story of dark desire and passion, apocalyptic stakes, and the deepest pits of despair. Skarsgård proves himself once again to be a transformative onscreen force as the titular bloodsucker, while Depp delivers a remarkably provocative and career-defining performance as the object of his obsession. With an impeccable command of his film’s visual style and a deeper look than usual into the twisted relationship at the story’s center, Eggers’ take on Nosferatu is an outstanding reimagining.
