Top 8 Horror Movies on Netflix in 2022 of 2022

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About the Top 8 Horror Movies on Netflix in 2022

When it comes to the state of horror movies on Netflix, one thing is for sure. As the competition between the various content providers and their respective streaming platforms intensifies, it becomes difficult to maintain good content. Of course, some of Netflix’s horror offerings are better than others, and while you could spend six years through the entire catalog to find the most valuable gems, a more efficient option would be to have someone else do the work for you. Halloween may be over, but horror movies have no limits to enjoy. As one of the most prolific and profitable film subgenres, audiences are always in the mood for creepy scary movies.

Fortunately, thanks to the accessibility of streaming services, places like Netflix offer a host of terrifying possibilities. Between original offerings and licensed titles, there’s a horror movie for everyone and everyone. Looking for a scary movie to watch on Netflix? Any time is the right time to watch a horror movie. Waiting until October to enjoy scary movies is the old-fashioned way to get tricks and treats, like renting on Blockbuster or not using Treatster to find out which houses have the best candy. No, in the modern world, thanks to Netflix streaming screeching content, you can sit back and enjoy the scare from the comfort of your own couch.

Here is the list of the best horror movies on Netflix

The Exorcist

The year 1973 began and ended with cries of pain. It started with Ingmar Bergman’s “Cries and Whispers” and closed with William Friedkin’s “The Exorcist.” Both movies are about the weather of the human soul, and no two movies could be more different. However, each in its own way forces us to look within, to experience the horror, to face the reality of human suffering.

Friedkin’s film is about a twelve-year-old girl who suffers from a severe neurological disorder or has perhaps been possessed by an evil spirit. Friedkin has the answers; the problem is that we doubt that he believes them. Bergman’s film is a humanist classic. Friedkin’s film is an exploitation of cinema’s most fearsome resources. That doesn’t make it bad, but it doesn’t make it noble either.

His house

“His House” wastes little time causing things to crash (and worse) in the night. He doesn’t shyly play with details because he never questions if it’s all in Bol’s mind; Rial can also see and hear what they mean by the “sea witch” that lives with them. Weekes subverts our plot expectations for the genre in a scene where Mark visits his house after Bol makes an unsettling visit to his office.

They experience the haunting differently: Bol’s visions are much more visceral and visual as the witch converses with Rial. However, they both see and hear their deceased daughter. “Do you want to know what she tells me?” Real asks Bol. “She says she should be afraid of you.” Later, when Bol tries to hide his deepest fears from his wife, as he had tried to do in the opening scene, Rial calls him a liar. Mosaku hits the word with a force as terrifying as the creatures that keep appearing.

Midnight mass

The vast majority of “Midnight Mass” takes place in a fishing community on a run-down island called Crockett Island. Actually, most of it takes place in the decrepit church, St. Patrick’s, which is newly run by a charming young man named Father Paul (a truly fantastic Hamish Linklater, whose work here almost warrants a look on its own), a charismatic leader who has been sent to replace a man named Monsignor Pruitt.

There’s a twist, of course, a supernatural source to all of these unexplained events and, to be honest, it’s a bit of a disappointment. But Midnight Mass makes up for the somewhat predictable nature of its mystery with the thoughtful and varied ways the characters react to the changes taking hold of Crockett Island. Riley still isn’t much into church, but Father Paul runs her court-mandated AA meetings, and his weekly discussions inevitably lean toward the philosophical. “So alcohol, that’s not good or bad. The same with guilt, pain, suffering”, says Father Paul. “It just depends on what we do with it.”

The Curse of Hill House

The very structure of “The Haunting of Hill House” is a beautiful thing, going back and forth between two eras of the Crain family. The current material introduces us to a variety of troubled souls, all of whom are in some way involved in trying to psychologically atone for the events that took place at Hill House decades ago.

Ghost stories are inherently based on the emotions we all feel; They emerged as a way to deal with pain and to explain the nightmares that are often associated with it. Flanagan and his team deeply understand how painful memories and deep wells of pain can lead to sleepless nights. The horror here never feels cheap, coming from its remarkable setting in flashbacks and the emotions of its characters in the present day.

Raw

The film, set in the context of college hazing, explores an outstanding young man who discovers new desires and pleasures of the flesh. Ducournau uses a taboo subject, cannibalism, to exploit the sometimes taboo subject (at least in certain conservative circles) of female sexuality in film. Creating a rich metaphor of coming of age and sexual awakening, Ducournau achieves a brilliant feminist web of bodily and intellectual symbols. Filled with visceral horror and a thoughtful meditation on the diverse anxieties of youth, Raw is a dazzlingly original and confidently crafted debut.

When Alexia wakes up, her eyes fill with tears at the sight of him, but not for the reason she might think: Alexia also has cannibalistic desires and, perhaps, recognizes the aberrant turn Justine’s life will now take. In the role of a sister-mentor, Alexia teaches her younger sister her ropes: together, they wait out of sight on a country road until a car approaches. Alexia jumps, causing a vehicle to swerve and the passengers to die. It’s fresh meat. The sisters often deepen their bond over their common ground, but rarely, if ever, while licking someone’s head wound.

Crawl

When a videographer answers a Craigslist website ad for a day job in a remote mountain town to record the last messages of a dying man, the job takes a strange turn when the last messages grow darker. The cameraman continues to watch the job, but when it’s time to leave, he can’t find his keys, and when he receives a strange phone call, he discovers that his client is not at all what she initially appeared to be.

Creep is a somewhat predictable but gleefully insane little indie horror film, the directorial debut of Brice, who also released this year’s The Overnight. Starring the ever-prolific Mark Duplass, it’s a character study of two men: a naïve videographer and a not-so-secret psychotic recluse, the latter of whom hires the former to document his life in a cabin in the woods. He relies entirely on his performances, which are excellent.

Follow

“It Follows,” the second feature film from writer-director David Robert Mitchell (“The Myth of the American Sleepover”), works so well because its creators keep viewers at a distance. It’s a ghost story, though the dead don’t necessarily haunt its suburban protagonists. And it is about adolescents who have sex, although it is not a simple celebration or a condemnation of making out with minors.

“It Follows” is not as obtuse as it seems. If anything, it’s a bit frustrating in its limited view of kids who are always worried, but never really think about sex. Jay and his friends take it for granted that they live in a constant state of excitement. That’s a given, so Mitchell doesn’t exoticize or exaggerate that aspect of his character.

The spell

Its haunted house/possession story is nothing you haven’t seen before, but few films in this oeuvre in recent years have had half the flair that Wan imparts on a creaky old farmhouse in Rhode Island. The film plays on audience expectations by throwing big scares at you without the standard Hollywood Jump Scare build-ups, simultaneously evoking classic gilded-age ghost stories like Robert Wise’s The Haunting.

“The Conjuring” is as toothless as it is because they are two different kinds of boredom. The plot of the movie is thoroughly explained when loud noises aren’t blaring and random objects aren’t mockingly jumping at you out of the corner of your eye. In fact, the Hayes brothers are so eager to explain the intricate backstory of their “Amityville Horror” impression that they dump information into viewers’ laps in three different ways before the film’s opening credits.

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