The Best Horror Movies on Amazon Prime Right Now

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Looking for a good scare, but not sure where to start? The good news is Amazon Prime boasts quite a few quality horror films, even if the suggested title algorithm doesn’t always bring the cream of the crop to the forefront. Looking for something classic? Go for Blood and Lace or Night of the Living Dead? Seen those already and looking for something new? No problem, Amazon’s video service regularly updates with new favorites like The Blackcoat’s Daughter and The Girl with All the Gifts. There’s a lot to chose from.

Nobody likes to get lost in the infinite streaming scroll so we’re making it easy to separate the best from the rest with our regularly updated list of the best horror movies streaming on Amazon Prime right now. Get your popcorn ready, bust out the slanket, and settle in for some spookytimes. We’ll be updating and expanding this list regularly, so be sure to come back for the latest recommendations and newly added titles.

Still looking for something spooky, but didn’t find what you want? Be sure to check out our updated list of the Best Horror Movies on Netflix Right Now. For more streaming recommendations, head over to the Best Movies on Amazon Prime Right Now, Best TV Shows on Amazon Prime Right Now. Best Movies on Netflix Right Now, Best TV Shows on Netflix Right Now, and Best Sci-Fi Movies on Netflix Right Now.

Annihilation

Writer/Director: Alex Garland

Cast: Natalie Portman, Oscar Isaac, Tessa Thompson, Jennifer Jason Leigh, Tuva Novotny

Annihilation is a trippy, wondrous sci-fi horror show that taps into the human drive toward self-destruction and transforms it into a phantasmagorical nightmare. Natalie PortmanTessa ThompsonOscar Isaac, and Jennifer Jason Leigh all give standout performances in a loose adaptation of Jeff VanderMeer‘s novel, which starts out as an investigation into a mysteriously transformed region of the world called Area X, where an alien force known as the shimmer has redefined the rules of nature. But Annihilation gets weirder with every passing moment, and each new biological perversion is more terrifying than the next, leading to an honestly insane and stunning finale that I still can’t believe got studio funding. But thank god it did, because Annihilation‘s wild and haunting third act is an unapologetic force of creativity and vision that defies easy answers and demands introspection. — Haleigh Foutch

Hereditary

Writer/Director: Ari Aster

Cast: Toni Collette, Alex Wolff, Millie Shapiro, Ann Dowd, Gabriel Byrne

Ari Aster makes a walloping directorial debut with Hereditary, an exquisitely crafted trip down a rabbit hole of terror and torment, wherein one family on the brink of self-destruction is torn apart by a supernatural menace. Following the death of her mother, Annie Graham (Toni Collette) and her family wander into an inescapable nightmare of grief and agony, where every choice and circumstance brings them closer to their inevitable doom. Shot with tremendous precision, as carefully constructed as one of Annie’s miniatures, Hereditary drags you into the nightmare alongside the Grahams and features some of the most stunning technical filmmaking of the year, bar none. That includes the most breath-taking performance of Collette’s career (which is really saying something), not to mention a score and sound design that would give you nightmares even if you weren’t watching the screen. But Hereditary will keep your eyes glued to the madness, watching a family walk into a trap they help build themselves. It’s an intense, physical experience (“I can feel my face sweating,” I wrote in a note during my first screening) that sticks with you ages after you leave the theater. — Haleigh Foutch

Unsane

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Image via Fingerprint Releasing / Bleecker Street

Director: Steven Soderbergh

Writers: James Greer and Jonathan Bertnstein

Cast: Claire Foy,Jau Pharoah, Joshua Leonard, Amy Irving, Juno Temple, Colin Woodell

Unsane is an up-close panic attack assault that uses the intimacy of an iPhone to tap into centuries of female oppression and transform it into the kind of psychological thriller that gets way too deep under your skin. Led by an unpredictable, exciting performance from The Crown breakout Claire FoyUnsane follows a recently relocated survivor who starts to see her stalker everywhere she looks, and accidentally winds up committed to a mental institution against her will.

Steven Soderbergh and psychological horror are a natural fit, especially with the added element of experimentation that comes with shooting a whole damn film on a phone. The director mines the human history of female institutionalization and modern statistics of assault to underscore a very relatable and real terror of the way women’s’ bodies are controlled and exploited, but he makes it universal by also tapping into the primal fears of lost autonomy and doubting your own mind. Throw in a dose of commentary about the American mental health system and some truly bleak moments of violence and you’ve got the makings of an all-timer psychological horror. Unsane had a so-so reaction when it dropped in theaters in early 2018, but I have a feeling time is going to be very generous to this one. — Haleigh Foutch

The Return of the Living Dead

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Image via Orion Pictures

Writer and Director: Dan O’Bannon

Cast: Clu Gulager, James Karen, Don Calfa, Thom Mathews, Beverly Randolph, Linnea Quigley, Brian Peck

After a pair of fumbling medical warehouse employees accidentally unleash a toxic gas on a nearby cemetery, the dead return to life in ghoulish, grisly fashion with an insatiable hunger for brains. Dan O’Bannon‘s directorial debut, Return of the Living Dead is a zombie film and a party rolled into one mud-smeared, punk rock romp. Long before the meta horror trend, Return of the Living dead name-dropped its inspiration openly, casually referencing Night of the Living Dead without abandon. It’s an outrageous film from start to finish, featuring nude grave dancing, talking zombies, and slimy, gory creature effects that make you want to take a shower. — Haleigh Foutch

Ginger Snaps

Director: John Fawcett

Writer: Karen Walton

Cast: Katharine Isabelle, Emily Perkins, Kris Lemche, Mimi Rogers, Jesse Moss

John Fawcett‘s spin on the werewolf mythos should be considered among the ranks of the modern horror classics, and easily one of the best werewolf movies, but outside die hard horror circles it’s too often forgotten. A coming-of-age tale via lycanthropy, Ginger Snaps tells  an intimate story about two death-obsessed, co-dependent sisters who are slowly torn apart when the older girl starts to change after a werewolf attack. Ginger Snaps was one of the early adopters of the 21st century trend to address female puberty by way of monstrous transformation (see also: Teeth, Wildling, Revenge, among many others), and it does so with great effect, but it’s also a downright well-made horror film. The effects are on point, the characters are relatable and sympathetic (even those like the high school mean girl, the local drug peddler, and the horny teenage boy are treated with a dose of empathy), and the actors all committed in their pulpy roles. Ginger Snaps puts a clever spin on a lot of themes — sexuality, sisterhood, loneliness, outsider pride and the desire to belong — and in doing so, it puts a fresh spin on one of horror’s most long-standing genres. —Haleigh Foutch

The Neon Demon

Director: Nicolas Winding Refn

Writer: Refn, Mary Laws, Polly Stenham

Cast: Elle Fanning, Keanu Reeves, Abbey Lee, Jena Malone, Bella Heathcote, Karl Glusman and Christina Hendricks

Nicholas Winding Refn certainly knows how to make a divisive movie. Like Only God Forgives before it, Refn’s Neon Demon was jeered at Cannes and met with split response from critics and moviegoers alike. That’s not too surprising. It’s explicit and nebulous, and seemingly dedicated to make the audience as uncomfortable as possible as often as possible. It’s also staggeringly beautiful, but leave it to Refn to make a shallow movie about the pitfalls of being shallow. Elle Fanning stars as Jesse, a manipulative underaged monster in the making who has “that thing” everyone wants, and she knows it. Rapidly climbing the ranks of the fashion industry, Jesse believes her own hype and goes full Narcissus, drawing the ire of three experienced industry pros who envy her youth, easy beauty, and immediate success. Along the way, shit gets truly crazy. The Neon Demon‘s got beautiful women basking in blood, it’s got glorious Technicolor visions of cannibalism and self-worship, and it’s got just way too much necrophilia. All the same, it’s a stunning visual accomplishment and it never abandons character in favor of the shock, it embeds them in each other. The Neon Demon may not have a lot to say, but what it does, it says beautifully. — Haleigh Foutch

The Killing of a Sacred Deer

Writer/Director: Yorgos Lanthimos

Cast: Colin Farrell, Nicole Kidman, Barry Keoghan, Raffey Cassidy

Who knew a single plate of spaghetti could be so damn distressing? The Lobster and Dogtooth director Yorgos Lanthimos has made a career of helming perversely punishing, psychologically upsetting films, and in that regard, The Killing of a Sacred Deer is his most potent accomplishment yet. Cynical as it is singular, The Killing of a Sacred Deer is a tale of crime and punishment that harnesses the capricious cruelty of the old golds in order to turn the failings of man into a horrific show of penance when a venerated surgeon (Colin Farrell) takes a young man (Barry Keoghan) under his mentorship and finds himself in a hellscape of emotional and existential penance. It’s unflinchingly awkward and brutal, with Lanthimos’ signature bleak humor and it’s the kind of psychological horror that worms into your brain and settles in for long after the film’s initial blows have worn off.  — Haleigh Foutch

Behind the Mask: The Rise of Leslie Vernon

Director: Scott Glosserman

Writers: Scott Glosserman, David J. Stieve

Cast: Nathan Baesel, Angela Goethals, Robert Englund, Scott Wilson, Zelda Rubenstein

Still a criminally underseen comedy/meta-horror, Behind the Mask is a pseudo-mockumentary that posits a world in which iconic horror villains (I’m talking Freddy, Jason, et. al), were very real serial killers. At the center of all of it is Leslie Vernon, a gushing obsessive whose  dream is to create a name for himself in the horror lexicon. Behind the Mask easily reveals its love for the horror genre, but there’s a sharp undercurrent of criticism that make this micro-budget horror incisive despite its minimal scope. Often funny and always impressive in its commitment to oddball world-building, it’s a film made for horror fans by horror fans, and if that’s not a ringing endorsement, I’m not sure what is. — Aubrey Page

The Blackcoat’s Daughter

Writer/Director: Oz Perkins

Cast: Kiernan Shipka, Lucy Boynton, Emma Roberts, James Remar, Lauren Holly

Like too many good horror films, The Blackcoat’s Daughter (previously titled February) sat on the shelf for a few years before it finally reached audiences so you may already be familiar with director Oz Perkins from last year’s ambiance-fueled haunted house chiller I Am the Pretty Thing That Lives in the House, despite the fact that The Blackcoat’s Daughter is technically his directorial debut. Perkins shows that same skill for hypnotic dread in his first film, an enigmatic occult drama that conjures a spellbinding, nightmarish thrall of Satanic menace. Amidst the creepy slow-burn and punctuating moments of violence, there’s a melancholy undercurrent of loneliness and remorse that pays off big in the film’s blistering final moments. The Blackcoat’s Daughter is cryptic and methodically paced, but each moment of subdued action preserves inertia for when that final blow arrives, and when it does, though it may not be entirely surprising, it is a searing blow straight to the solar plexus that leaves you reeling. The film’s evasiveness demands patience, but there are moments of brilliance that scratch at the subconscious with a wicked edge, leaving a raw and hollow feeling long after the film has ended.

Night of the Living Dead

Director: George A. Romero

Writers: George A. Romero and John A. Russo

The zombies in George A. Romero’s Night of the Living Dead are called “ghouls” but nonetheless this is the film that created the movie zombie as we know them: blank, thoughtless creatures who lumber around with vacant stares and barely retain any resembling sense of their humanity. For this reason, the thrill of the movie zombie has generally been in seeing how our heroes with brains dispatch them with great efficiency and cruelty. They’re no longer human, after all.

However, re-watch Romero’s film and try not to escape with having more sympathy for the “ghouls” than most of the humans. The living humans mostly only retain humanity’s weakest learned attributes: prejudice, xenophobia and selfishness. The most selfless non-ghoul we follow (Duane Jones) is famously shot—after valiantly fighting against the ghouls—simply because his skin color triggers a suspicious reaction to the man on the other end of the rifle. But Romero plants many other distrusts of authority motifs throughout Night of the Living Dead. In 1968, recent public opinion on the war of Vietnam and in the police tactics during the Civil Rights movement had shifted to no longer give blanket trust of best intentions to law enforcement, generals and soldiers. They’re human after all, and many humans harbor ill intent to others. Just watch the burial of the once human ghouls who are dragged out by meat hooks and burned in a pile and try not to think of any xenophobic war or a horrific systemic view of the “other”. —Brian Formo

Chopping Mall

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Image via Concord Pictures

Director: Jim Wynorski

Writers: Jim Wynorski, Steve Mitchell

Cast: Kelli Maroney, Tony O’Dell’ Barbara Crampton, Karrie Emmerson, Russell Todd, Nick Segal, Dick Miller

Chopping Mall is 80s to the utmost; the neon, the hair, the overtly sensationalist nudity, but in the place of your average slasher killer, Chopping Mall pits a gang of lusty teens against a trio of deadly, malfunctioning mall security robots. Locked in the high-tech shopping mall overnight with the laser-eyed murderbots rolling up behind their every move, the teens arm up and fight back to the quintessential 80s electronic score. Whacky and unafraid to be more more fun than scary, Chopping Mall is a delightful B-movie where people say things like “I’m just not used to be chased around a mall in the middle of the night by killer robots” with a straight face. The whole film has that cheeky self-awareness, including some none-to-subtle genre references — it even features one of Eating Raoul duo Paul Bartel and Mary Woronov‘s seventeen film cameos as The Blands. Funny and endlessly entertaining, Chopping Mall is a perfect throwback midnight movie. Thank you, have a nice day. — Haleigh Foutch

Blood and Lace

Director: Philip GilbertWriter: Gil LaskyCast: Melody Patterson, Gloria Grahame, Len Lesser, Milton Selzer, Vic Tayback, Terri Messina, Ronald TaftSeven years prior to Halloween, here’s your first home invasion killer POV during a murder. The hammer murder of a prostitute at the beginning sends her teenage daughter (Melody Patterson) to an oppressive orphanage run by the sadistic Gloria Grahame (all of the great 40s divas eventually made their way to cheap horrors at the twilight of their career) who lives off the state contract given for each orphan and works the children extra hard or punishes them even harder.Every man in Blood and Lace is oozing filth as they all try to get their hands on the new teen who talks a big talk about her experience with love. That includes Uncle Leo (Len Lesser) from Seinfeld, and leads to a few sick plot twists, and Oscar-winner Grahame pays pittance for her personal life that excommunicated her from Hollywood—for sleeping with/marrying her teenage stepson—in a grindhouse movie that would embrace that ickiness.Is this movie great? Nope; but for cheap thrills and grindhouse fans, it’s certainly fun. It straddles 60s exploitation of yore and future 70s horror nasties. You wouldn’t want to be the final girl in this sick scenario. — Brian Formo

The Greasy Strangler

Director: Jim Hosking

Writer: Toby Shepherd and Jim Hosking

Cast: Elizabeth De Razzo, Sky Elobar, Michael St. Michaels

Decidedly not for everyone, The Greasy Strangler is a blast, and I’m no bullshit artist. The feature film debut from Jim Hosking has incited a lot of pearl-clutching and gasps of horror since it debuted at Sundance earlier this year, and it’s easy enough to see why — it’s absurd, unapologetic, and indecent by just about every conventional standard, but the beauty of The Greasy Strangler is the fact that it doesn’t care about conventional standards at all. Forget about photoshopping, and narrative guidebooks, and all the little safety boxes that have to be checked off when a film tries to be a four-quadrant picture. The Greasy Strangler feels like Grindhouse incarnate, a midnight movie sprung from the very soul of midnight movies to make you cringe and guffaw and quote one-liners you’ll probably never be able to get out of your head. —Haleigh Foutch

The Loved Ones

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Image via Magnolia

Writer and Director: Sean Byrne

Cast: Xavier Samuel, Robin McLeavy, John Brumpton, Victoria Thaine, Jessica McNamee

The strangest little blend of high school drama and “torture porn”, The Loved Oneswas one of those great international horror films that built up one hell of a buzz in the festival circuit before finally making its way to the states. But thanks to the miracle of the streaming age, you can watch it on Amazon Prime right now! A stunning feature debut from Australian director Sean Byrne (who went on to direct the similarly delayed festival hit The Devil’s Candy), The Loved Ones tells the terrifying tale of a high school heartthrob (an impeccably cast Xavier Samuel), who is kidnapped and tortured by an unhinged outcast (Robin McLeavy) after he turns down her invitation to the prom. A twisted and terrifying tale of revenge with a truly sick sense of humor, The Loved Once will make you grimace and wince and chuckle and cheer with gripping, gruesome charms. — Haleigh Foutch

The Girl with All the Gifts

Director: Colm McCarthy

Screenwriter: Mike Carey

Cast: Sennia Nanua, Gemma Arterton, Glenn Close, Dominique Tipper, Paddy Considine

A lot of you probably won’t have heard of The Girl with All the Gifts, and that’s a damn shame. McCarthy’s clever update on the stale zombie narrative was quietly dumped in America despite heaps of positive festival reviews and a solid UK opening, but it’s well worth seeking out. Based on Mike Carey‘s hit YA novel, from a screenplay he penned himself, the film takes place in an apocalyptic dystopia where the world has been ravaged by mold-covered zombies called “Hungries”. We pick up with the survivors of a military camp, where they’re searching for a cure by experimenting on different, trickier kind of monster — human/hungry hybrid children who look, think, and act like your average school kids… until they catch the scent of live flesh and the monster comes out. When one of the test subjects, a precocious young girl Melanie (Nanua, who is phenomenal in her feature debut), demonstrates an aptitude for self-control, she’s thrust into an uneasy alliance with her beloved teacher (Arterton) and a team of soldiers as they venture beyond the confines of the camp and discover a new world, no longer dictated by human rule. A potent blend of horror with sci-fi just enough philosophical musing to elevate it beyond a campy romp, The Girl with All the Gifts is the perfect zombie film for the post-Walking Dead age. — Haleigh Foutch

Demon

Director: Marcin Wrona

Writers: Marcin Wrona and Pawel Maslona

Cast: Itay Tiran, Agnieszka Zulewska, Andrzej Grabowski

Possession becomes a link to historical reckoning in Marcin Wrona’s unnerving take on the Jewish myth of the dybbuk, a restless, chaotic spirit who takes hold of a living person. Here, the unsteady binds that tie Poland to Europe in the wake of the Holocaust, are reflected in the wedding between a Polish woman and her Londoner groom, which is uprooted when a member of the wedding party begins to lash out in unusual ways, speaking about age-old happenings. Like with the best horror, there is plenty of humor, and the sting of modern capitalistic ruthlessness and the selfishness that often comes with unrequited love are constantly invoked. They feed into the feeling of a powerful but not necessarily malevolent force whose outrage and confusion can turn a gorgeous catered affair into flaming wreckage forged by human frailty and the unvanquishable, blood-drenched crimes that have shaped history. — Chris Cabin

It Comes at Night

Director: Trey Edward Shults

Writer: Trey Edward Shults

Cast: Joel Edgerton, Carmen Ejogo, Christopher Abbott, Riley Keough, Kelvin Harrison Jr.

It Comes at Night is not a monster movie. It’s not interested in world-building. It’s not interested in easy answers. But that doesn’t mean it’s not a horror movie, and startlingly effective one if you can buy into the film itself instead of the movie the marketing campaign sold you. Set in a threadbare post-apocalypse ravaged by a deadly disease, It Comes at Night follows a family festering in a psychological pit of grief and survivalism when a man in search of water for his wife and child breaks into their safeguarded home and sets their already precarious balance on edge. The threat of death and endless fear lingers over the whole affair with oppressive heaviness and writer-director Trey Edward Shults leans into the horror of human weakness via a lean allegory for the endless cycles of violence we inflict on each other in the name of protecting our own tribe. We’ve seen this all done before—it’s the root of horror classics like Night of the Living Dead and The Thingbut Shults strips the concept down to its bare parts, swapping fantastical effects and creature creations for a faceless all-consuming dread

The Strangers: Prey at Night

Director: Johannes Roberts

Writers: Bryan Bertino and Ben Ketai

Cast: Lewis Pullman, Bailee Madison, Christina Hendricks, Martin Henderson

Ok, so this is more for “best scene” than “best movie”. In full honesty, the first half of The Strangers: Prey at Night is a bit of a stilted drag, and not much of anything the characters do makes a whole lot of sense. But hoo boy, the second half of the movie is a wild bit of throwback fun, and the film’s highlight sequence is a five-minute fight scene in and around a neon-lit pool with “Total Eclipse of the Heart” full-on blasting in the background. It’s a great piece of pop-horror; colorful, fun and thrilling, and it’s the cherry on top of a final act that makes the first bits worth trudging through. — Haleigh Foutch

Bone Tomahawk

Writter and Director: S. Craig Zahler

Cast: Kurt Russell, Patrick Wilson, Richard Jenkins, Matthew Fox, David Arquette, Evan Jonigkeit

S. Craig Zahler’s Bone Tomahawk didn’t get the love it deserved when it hit select theaters last year, but I highly recommend catching it now on Amazon Prime, especially if you’re into horror movies and Westerns. The movie stars Kurt RussellPatrick WilsonMatthew Fox and Richard Jenkins as four men who head out into the Wild West to rescue two people who are taken captive by a group of cannibals. It’s an eerie slow burn that builds an overwhelming sense of dread before unleashing an especially savage display of violence and gore. In fact, there’s one scene from Bone Tomahawk that scored a spot on our Best Movie Kills of 2015 list and while it is insanely bloody and brutal, the movie earns the moment thanks to the stellar performances, character-driven narrative and all-consuming atmosphere. – Perri Nemiroff

Source: Collider

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