Love it or hate it, 2024 is sure to be known as the year that Horror dethroned Comic-Book films as Hollywood’s dominant genre (# of releases, not budget). Although this ranking may not perfectly reflect my written reviews, it should be close. My thoughts on certain films have inevitably shifted over time and there’s nothing wrong with that – it’s more or less the name of the game. I approached this list by asking myself which of these films I wouldn’t mind watching again – plain and simple. Although it should be obvious, I’d like to reiterate that this is my PERSONAL ranking. I guarantee that you will not agree with some of the rankings on this list, but that’s the point. If everyone agreed, there’d be no reason to do share. That being said, let’s get into it…

54. Subservience – Taking the crown as the worst horror movie of the year is easily this half-baked (at best), AI cheese-fest. Headed by a laughable lead performance from a robot Megan Fox (is she even acting?), the film is only interested in exploring what it’d be like if you had sex with your robot maid. Was this supposed to be a comedy?   

53. AfrAId – As yet another AI gone wrong-focused snoozer, this is just barely more tolerable than the previous entry. It’s not scary, it’s not funny, and it rarely makes any sense. Subservience was stupid, but this is just soulless. I highly suspect the script was written by AI. 

52. Imaginary – Other than occasionally achieving a “so bad, it’s good” effect, this silly Jeff Wadlow-directed affair is another poorly written effort from one of Hollywood’s crappiest directors. On top of that, it features some of the year’s most annoying characters. I try to imagine this movie never existed. 

51. The Strangers: Chapter 1 – Easily the worst installment in The Strangers franchise, this film only makes the viewer scratch their head in confusion. Even if the upcoming second installment in this planned trilogy is an improvement, it’ll be hard to come back from this generic piece of trash. It’s essentially just a ripoff of the first film (which is basic to begin with) that’s worse in nearly every conceivable way, especially the lead performances.   

50. The Deliverance – Besides an interesting performance by Glenn Close, The Deliverance is one of the more forgettable horror films of the year. Its execution of racially charged scares is shoddy at best and slowly devolves into the kind of cliche ghost story we’ve seen a hundred times before.    

49. Mr. Crockett – Although this is mostly just a low-budget effort with a weak script and cheesy performances, Mr. Crockett proves himself to be a uniquely chilling horror villain. On top of this, the Goosebumps-inspired sets/visuals are sure to appeal to 90’s kids. Other than those two things, it’s just a generic piece of crap.     

48. Tarot – Although on paper this a less-original effort than a lot of the films lower on this list, I have some guilty-pleasure fun with its spooky ghost designs and familiar, yet oddly comforting plot structure. That being said, it’s filled with some of the most eye-rolling tropes the genre has to offer and never feels like much more than a cynical attempt to sell tickets based on its title and/or premise alone.     

47. House of Spoils – Despite being one of the slower, sillier, and least-scary horror movies of the year, it earns itself a few points for originality. The haunted restaurant setting is unique and the first act effectively builds intrigue. Unfortunately, everything kind of goes downhill from there and leads to an ending that completely fails to follow through on its horror elements and instead forces an unearned feminist message down the viewer’s throat. Why set aside everything your movie establishes to go in a completely random direction at the last second?     

46. Hold Your Breath – Similar to the previous entry, this film features an intriguingly creepy premise as well as a unique setting (Dust Bowl) for the genre. Unfortunately, once the script begins to reveal its secrets, things start to feel unfocused and cheesy. It’s also very abstract and doesn’t provide the viewer with enough satisfying answers. On top of this, the various performances are extremely cold. It’s as if the writer/director thinks that people who lived in this era didn’t have personalities or experience emotions.     

45. The Front Room – Other than the lead performances from Brandy Norwood and Kathryn Hunter, there’s little about this movie that lives up to the quality a person expects from an A24 release. It’s unfortunately nothing more than an extremely boring and predictable “houseguest from Hell” movie. Its multiple dream sequences don’t result in anything of substance – many of the sequences meant to be scary/disturbing just come off as uncomfortably gross. I’m still a bit dumbfounded that A24 would produce a supposed horror movie that’s filled with this many poop jokes.

44. Night Swim – Although still very low on my list, I seemed to have “enjoyed” it just a tad more than most people. Although I don’t consider this a “good movie” in any way, it’s the first film on this list I wouldn’t mind sitting through at least one more time. The idea of a haunted swimming pool will no doubt make certain viewers tune out immediately, but I found myself enjoying the cast’s commitment to such a silly premise. I had fun, but the rational/objective part of my brain still can’t ignore how generic/stupid it all is.    

43. The Exorcism – Although the dialogue is something you’d usually find in a SyFy channel original, Russell Crowe seems to understand precisely the kind of movie he’s in. The premise of a struggling actor who’s cast in a haunted film production feels fresh, but ultimately, the story devolves into something extremely generic. On top of this, the characters kind of just come across as rude scumbags a lot of the time. I wouldn’t be surprised if this was written by someone with anger issues.  

42. Time Cut – Similar to Totally Killer (2023), this is essentially a slasher-movie twist on Back to the Future (1985). Although supposedly written before Totally Killer, it’s a lesser movie in almost every way. The twists are predictable, the killer is generic, and the cast feels very amateur. Other than the inherent possibilities that the premise provides, the only thing that elevates the experience is its neon-soaked set design. It’s tough to enjoy intellectually, but at least it’s cool to look at.  

41. Hellboy: The Crooked Man – Although less confusingly childish than the previous attempt to reboot Hellboy, it’s also the franchise’s cheapest-looking and worst-acted installment. I do appreciate that this is the franchise’s most horror-centric entry – something that’s integral to the source material but traditionally watered-down in the film adaptations. Unfortunately, it ultimately feels like another step back for the franchise when considering how small-scale and cheap it feels in comparison to previous installments.    

40. Stream – Accurately marketed as another boundary-pushing slasher extravaganza from the team behind the Terrifier franchise, this is the ultimate example of modern, Grindhouse-style horror filmmaking. The kills are consistently mean, but the script often goes one step further to where it feels like it isn’t afraid to laugh in the mutilated face of someone who was just brutally murdered. The performances are terrible, but they sort of work as a throwback to low-budget slashers from an era gone by. These filmmakers clearly understand what slasher fans crave at their core level. This may be one of the ONLY things the movie succeeds at, but I’m not sure if its ambitions were ever that big in the first place.

39. Monster Summer – Although this is the first film on the list that isn’t particularly  “bad” in any meaningful way, it’s a painfully unoriginal throwback to fun-loving, 1980s monster movies such as Fright Night (1985) and The Lost Boys (1987). The thing is, it lacks the more adult edge of those kinds of films – something that ultimately makes the movie less scary, less funny, and as a result, less memorable.  

38. Don’t Move – As a contained and barebones chase thriller featuring a relentless pace, this movie delivers. Unfortunately, it’s an experience that’s all style and almost zero substance. The characters are as basic as they come, the dialogue is flat, and it lacks any real twists/surprises. I’m not sure if it has a brain in its tiny little skull, but at least it moves.  

37. Humane – As one of the year’s more ambitious releases in terms of its unique approach to tone, the film also features what might be its most compelling horror premise. Unfortunately, the director often struggles to find a satisfying balance of comedy and horror – a tonal clash that often siphons focus from its more intriguing core premise. With a setup this good, it should have played things more straight. Instead, it feels like the work of a first-time director whose creative ambitions outweigh her ability to execute them. 

36. Sting – As the sillier of the two spider movies to release this year, Sting almost feels tonally similar to Goosebumps. Although there’s a satisfying level of spider-induced mayhem, it’s held back by performances that range from forgettable, to strange, to just plain bad. The humor also falls flat, but what really makes me scratch my head are the handful of oddball creative decisions that only work to amplify the movie’s “weird” factor. At the end of the day, it mostly delivers the goods spider-wise, and that’s the most important part.   

35. Trap – Although it features nearly every hallmark of a bad M. Night Shyamalan movie – glaring plot holes, ridiculously goofy/off-kilter dialogue, and bold creative choices that only work about 50 percent of the time – I found myself serviceably entertained. Josh Hartnett is guaranteed to confuse some viewers with such a strange performance, but this is a strange movie. It’s dumb and it’s weird, but it’s very entertaining. To me, it’s one of the better “so bad, it’s good” movies Shyamalan has ever made. Still, a majority of people (myself included) would rather he just drop this obsession with such off-the-wall creative choices. His serious movies are usually his best.    

34. The Watchers – This debut effort from M. Night’s daughter, Ishana, just barely edges out Trap as the best Shyamalan-directed film of 2024. The mysterious setup is effectively spooky and raises a lot of intriguing questions. Unfortunately, the answers to these questions feel like something you’d find in a piece of fairytale fanfiction. The longer it chugs along, the more it falls apart. That being said, I have to give it props for having an original premise as well as some effectively frightening sets. 

33. Out of Darkness – Set in the Stone Age and featuring natural locations that are stunning on the big screen, the film’s production is impressive on most technical levels. There’s a strict commitment to realism – which goes as far as implementing a fake language that the entire cast was forced to learn in full. There are a few truly chilling moments related to the brutality required to survive such a harsh world, but other than that, it’s a mostly dull experience that has little new to offer. 

32. Azrael – Taking place in a post-apocalyptic world where nobody speaks, the film features zero dialogue. This silence is an admittedly fun/compelling way to approach a violent, female revenge thriller, but it quickly becomes clear that it’s somewhat of a surface-level gimmick. It’s fun, but I can’t think of a single way it relates to the themes (whatever they are) or improves the action, storytelling, etc. If this movie had dialogue, I honestly don’t think it would change the experience very much. Thankfully, Samara Weaving carries the film as one of the more badass horror heroines to grace the screen this year.   

31. Werewolves – Accurately referred to by many as “The Purge with werewolves,” this Frank Grillo-led werewolf action extravaganza signals the first film on this list I would consider recommending to the right person. It’s not particularly unpredictable or deep, but it is fast-paced and features some impressive, practical werewolf effects. It’s a decent little Halloween streaming option if you’re into werewolf movies, but I doubt it will win over any fans hesitant about the genre.    

30. It’s What’s Inside – Although flawed in a couple of different key ways, this is also one of the more original and ambitious films of the year. The body-swapping premise can often be a chore to follow, but it’s a movie I imagine will only get better upon a rewatch. Once I got a hold of what was going on, I found this to be a script that never misses a beat. It explores nearly every dark and funny implication of its premise and proves itself to be a much more thought-provoking experience than I was initially expecting. Unfortunately, it suffers due to the amateur cast’s inconsistent performances as well as a lot of awkward humor that only occasionally lands. Regardless, it’s still good enough to kick off the top 30.     

29. Lisa Frankenstein – In this neon-soaked love letter to the films of Tim Burton, Kathryn Newton as well as the supporting cast deliver performances that feel spot-on in terms of tone. Its unapologetically morbid sense of humor feels like a breath of fresh air compared to the kinds of jokes you’d find in a typical blockbuster – something that resulted in me enjoying the film a lot more than I was initially expecting. Unfortunately, the script doesn’t take enough risks and therefore lacks moments that are truly memorable. It also feels like the use of cheesy teen tropes is a tad too heavy-handed – something that makes the film’s appeal just a bit too niche to fully appreciate for a majority of viewers.  

28.  Stopmotion – Although themes of generational abuse/trauma are nothing particularly new within the Horror genre, this film stands out due to its chilling use of some surprisingly messed up claymation. With the addition of two strong central performances, this easily qualifies as one of the more underrated horror experiences of 2024.    

27. Salem’s Lot – Although this adaptation of Stephen King’s sophomore 1975 novel received a mixed reception at best, I found it to be a ton of fun. Lewis Pullman proves himself to be an uncommonly charismatic lead, and although the script never actually explores the more complex themes of the novel, it retains the iconic tone that makes King’s stories so irresistible. It’s not deep, but it’s fast-paced, fun, and features a unique climax that takes place at a drive-in theater. I also found it to be somewhat unpredictable. It’s a B-movie, for sure, but it’s my kind of B-movie.    

26. Arcadian – Featuring an unexpectedly grounded lead performance by Nicholas Cage, this shameless A Quiet Place (2018) ripoff ultimately works due to a deadly efficient script as well as strong supporting turns from Jaeden Martell and Maxwell Jenkins. It also feels somewhat subversive in the way it takes a more uplifting approach to post-apocalyptic life. Instead of showing how tragedy brings out the worst people, it shows how it forces them to band together – especially families. That being said, if I ever felt like watching a movie like this, I’d probably just choose A Quiet Place.  

25. Speak No Evil – Although inferior to the original Danish version in nearly every way, the film holds its own as a serviceably entertaining “hosts from hell” story. James McAvoy’s wonderfully unhinged villain pretty much carries the movie, but it’s also well-shot and for the most part, succeeds in taking its social situations to the awkward max. Unfortunately, the ending (the original’s most memorable aspect) plays things pretty safe and feels disappointing when considering all of the time spent building tension. Great remakes work by adding/improving on the original, not subtracting what are clearly its standout moments and replacing them with something lesser. I understand the desire to deliver something new for fans people who are familiar with the story’s twists and turns, but it contradicts the fact that the rest of the film is clearly aimed at US audiences who’ve most likely never seen the original. It’s really the only notable issue I have, but it’s a substantial one and precisely what causes the film to just barely crack the top 25.  

 24. Baghead – Although the characters here are pretty stupid and unlikable, the film works because it takes a note from the slasher genre and eventually gives these idiots their proper comeuppance. If not for such a specific approach, the characters would be an absolute drag and the kills would come across as strangely unforgiving (even for a horror movie). Instead, the cool premise, creepy monster, and general willingness to “go there” sustain the viewer until a cathartic climax that retroactively improves the experience as a whole. These characters deserve to die, but the script knows it, and thus, plays into it. General audiences may not get it, but horror fans like me are sure to enjoy the ride.             

23. Immaculate – Led by Sydney Sweeney in what is easily her strongest film performance to date, this hodgepodge of religious-horror craziness succeeds in being entertaining throughout despite its off-the-wall nature. Although it plays out as a typical slow burn in the spirit of films like Rosemary’s Baby (1968) or even The Omen (1976), it succeeds in providing consistent chills throughout due to the perfect pace at which information/secrets are revealed. Unfortunately, once these secrets are revealed, the answers feel tonally inappropriate. It’s fun how crazy things become by the end, but it also feels like the writers just didn’t know how to wrap things up, so they just decided to get wild with it.          

22. Woman of the Hour—As the year’s best (and only) “based on a true story” horror experience, Woman of the Hour struggles because of Anna Kendrick’s occasionally aimless direction. Other than that, the film effectively combines elements of two seemingly mismatched genres and tells the rare kind of true story that completely warrants a film adaptation. Even without its horror elements, the film would still be compelling due to its faithful recreation of classic 1970s dating gameshows.   

21. Y2K – As maybe the silliest entry on this list, this apocalyptic imagining of the titular event is surprisingly a lot of fun despite its immature brand of comedy. The multitude of era-specific references are effective in providing the appropriate nostalgia and the jokes are mostly dumb-fun despite their simplicity. The zaniness throughout will inevitably be too much for a certain portion of viewers, but it appropriately feels like a throwback to the kinds of crude comedies that defined the turn of the century. It’s not high art, but it can be a lot of fun if you’re in the right headspace.    

20. In a Violent Nature – Although the characters and plot are as basic (if not more so) as a typical installment in the Friday the 13th franchise, In a Violent Nature takes a much more “elevated” approach to its visual storytelling. The cinematography is better than just about any slasher movie I’ve seen, but that’s not exactly what sticks out. What truly sets this experience apart is that it’s told entirely from the over-the-shoulder perspective of a silent, Jason-esque killer. It’s sure to be a classic for slasher fans due to its unique approach, but they’ll also be happy to know that it features at least two kills that are more gory and disturbing than almost anything in the Terrifer franchise. Even though the characters stink, its cult-classic potential alone earns it the #20 spot.

19. Daddy’s Head – Even though it features lackluster characters and one of the year’s more simplistic stories, the film also includes some of 2024’s more chilling practical effects. The creature design is total nightmare fuel, but the film’s approach to psychological horror also feels genuinely unsettling. If scares alone are what you desire, it’s one of 2024’s more effective genre films. If you’re seeking anything deeper, you may wonder why it’s ranked this high. Although flawed, its images got closer to keeping me up at night than any other horror film this year. 

18. Blink Twice – As one of the more risky and inevitably divisive films on this list, I found it to be a consistently unpredictable thriller with solid laughs, strong performances, and an unexpected mean streak. On top of this, it features some of the year’s more effective “red herrings.”  Not everything works, but it’s an original and creative debut that fully excites me for whatever Kravitz decides to do next. It also fills a spot as the closest thing that exists to an Epstein Island movie. That alone sends a shiver down my spine. 

17. I Saw the TV Glow – Although this is one of the more objectively well-made films placed in this portion of the list, it’s held back a few spots because I struggle to fully connect to its subtext. Even so, my opinions on the film have consistently improved since my initial viewing. It features a unique tone/visual style that feels like a hybrid of traditional teen movies, The Twilight Zone (1959-1964), and the first season of SyFy’s underrated horror anthology series, Channel Zero (2016-2018). Instead of horrifying moments/events that scare the viewer momentarily, the film focuses on horrifying ideas that only become more chilling the longer they’re dwelled on. Not everyone can connect to the experience of gender dysphoria, but they can connect to the experience of feeling trapped.  

16. Strange Darling – Although I gave it a somewhat negative review after my initial viewing, I’ve changed my tune on this serial killer revenge thriller. I still don’t love the sometimes needlessly pretentious dialogue, but I was admittedly far too critical about the fact that I was able to guess the film’s twist in the first 5 minutes. I try not to outguess the films I’m watching, so I rarely find myself in this position. Once I found that I was on an island with my opinion, I decided to give the movie a second chance and view it in a context where I already knew the twists and turns. After that, I came to appreciate the movie’s flashy cuts, relentless pace, and heavy noir influences.   

15. Alien: Romulus – Even though I have a lot of issues with this movie, it’s admittedly one of the better installments in the Alien franchise. Director Fede Alvarez finds a handful of new and creative ways to stage the Xenomorph action, but the young cast brings it all together with performances that fully sell the kind of blood-curdling terror necessary for a proper Alien experience. The movie only stumbles when it attempts to reference/revisit previous films in the franchise. This ranges from needless CGI cameos to shamelessly reusing some of the franchise’s best lines in places where they quite simply don’t fit. Although it may have a few more flaws than some of the entries below it, my love for the franchise automatically shoots it up the list.  

14. The First Omen – When considering how prequels to beloved classics released 50 years later often go, The First Omen is a surprisingly great film. It’s easily the franchise’s best sequel/prequel – something that is in part due to the wonderfully written leads played by Nell Tiger Free and Ralph Ineson (who give equally wonderful performances). Other than a few uninspired/derivative antichrist tropes, it’s an effectively chilling and daring attempt to revive The Omen franchise that exceeded a large majority of my initial expectations.   

13. MaXXXine – Although I found this third and final installment in Ti West’s X trilogy to be the weakest of the bunch, it succeeds as an uncommonly entertaining throwback to 1980s Giallo films. Mia Goth gives another stand-out performance as the film’s titular heroine, but the film also features a handful of memorable supporting turns from a cast that includes Elizabeth Debicki, Giancarlo Esposito, and Kevin Bacon. Its tendency to lean into the non-horror elements of 80s cinema is fun, but slightly makes the tone feel a tad too silly/stylized and therefore out-of-place in comparison to its predecessors. Other than that, it’s a fast-paced and satisfying wrap-up to Maxxine’s story.    

12. Smile 2 – Although Parker Finn’s sequel to his 2022 smash hit, Smile, doesn’t take its premise in any particularly new directions, it doubles down on the elements/tricks that made the first film so exciting. Although I’m not usually a fan of dream sequences, Finn uses them in a way that constantly keeps the viewer wondering if what they’re seeing is real – something that will frustrate a portion of viewers, but for me, results in a consistent sense of discomfort. It lacks any new ideas but easily proves that the franchise’s core premise had enough steam to justify a second go-around.  

11. Late Night with the Devil – Other than some key pacing issues that make its 90-minute runtime feel closer to 2 hours, Late Night with the Devil is one of the more creatively conceived horror films of the year. Not only does the film work as slow-burn satanic horror, but it also works as a nostalgic recreation of 1970s late-night TV. David Dastmalchian provides what is easily the best performance of his career – one that is sure to earn him some better roles in the future. The decision to lean into its more supernatural elements during the climax may feel jarring for a certain portion of the audience, but it allows the ending to feel explosive/satisfying after so much build-up. It’s not perfect, but its originality is sure to make it a cult classic.   

10. Never Let Go – Kicking off my top ten of the year is this wonderfully original thriller from veteran horror director, Alexandre Aja. Although it features its fair share of plot holes as well as some spotty performances from the child actors, it’s a well-paced thriller with an intriguing premise and some uncommonly effective twists/turns. Some of the big swings the script takes won’t work for everyone, but I found it to be wonderfully unpredictable from beginning to end. Halle Berry delivers a lead performance that reminds us why she’s one of the best actors of her generation and Aja succeeds in staging some truly surprising jump scares (a style of scare I thought to be exhausted completely). Other than a few script blunders, the film succeeds in almost every way an original horror movie should. It’s easily one of my most controversial rankings, but I stand by it wholeheartedly.     

9. Nosferatu – Out of all my rankings in the top ten, Nosferatu feels like it has the most potential to grow on me. Although it’s beautifully acted and directed, it failed to strike me on an emotional level. I think this is because, although this is undoubtedly the best-made version of the Dracula/Nosferatu story, it’s a story that I’ve experienced countless times before. Other than that, it’s clearly the best-looking/best-made horror film of the year and features some appropriately gothic performances. It may be a bit too “elevated” for general audiences, but’s it tough to not appreciate Robert Eggers continued commitment to period authenticity. There’s currently no other director who comes close to delivering the kinds of films Eggers does. That alone earns his fourth movie a spot in the top ten. 

8.  A Quiet Place: Day One – Although it suffers from a lot of typical pitfalls that prequels often face, this third installment in The Quiet Place franchise also avoids the most problematic ones. Switching out the director of the first two films, John Krasinski, for Pig (2021) director, Michael Sarnoski, adds a much-needed creative burst to the franchise. The NYC setting allows for some of the franchises’ most exciting sequences and the main characters played by Lupita Nyong’o and Joseph Quinn are more interesting than anyone in the first two movies. Although I can’t objectively say it’s better than the original, my emotional side says this is my favorite installment. I don’t historically like prequels, but this and Furiosa prove they can work if the proper approach is taken. 

7. Cuckoo – True to its title, this is easily one of the more unpredictable and zany horror experiences of the year. The film raises a lot of intriguing questions and answers them in some of the craziest ways a person can think of. It’s consistently spooky, but also wonderfully self-aware, and features a fantastic lead performance from Hunter Schafer as well as a memorably maniacal supporting turn from Dan Stevens.  Some of the wild choices will inevitably be too much for certain viewers, but if you’re willing to go along with it, it’s a crazy, non-stop thrill ride.  

6. Terrifier 3 – Combining the best elements of the first two installments, Terrifier 3 is easily the most balanced and satisfying film in the franchise. Although the various kills are unsurprisingly gory and brutal to the point of absurdity, they maintain a sense of morbid fun due to David Howard Thorton’s iconic performance as Art the Clown and the script’s strong thematic connections to the holiday season. On top of featuring an uncommonly well-written protagonist in Lauren LaVera’s Sienna, it delivers one of the year’s most bloody and tension-fueled climaxes that perfectly sets the stage for Terrifier 4. The unapologetic violence is sure to offend some people, but at this point, a person should know what they’re getting into with this franchise. It’s shock cinema for sure, but the best of its kind.   

5. Abigail – As the year’s most accessible and purely fun horror experience, Abigail works as a wonderful hybrid of fun-loving 80s vampire flicks such as The Lost Boys (1987), classic Universal monster films, and more modern, contained thrillers similar to the directors’ previous, non-franchise film, Ready or Not (2019). Instead of relying on flashy twists and turns, the film achieves something a bit more timeless by prioritizing the complex and endlessly entertaining dynamics of its memorable cast of characters. It never feels like a moment is wasted and results in one of the more watchable films of the year. On top of this, it finds the perfect balance of playing into but also subverting certain well-known aspects of vampire lore. If the script only took subversive directions, they wouldn’t feel as subversive because we would know more or less to expect that subversion. Instead, occasionally playing into/confirming the viewer’s expectations helps lower their defenses and makes them susceptible to some real surprise. It’s a great example of how a strong script and the appropriate directors can elevate what would have otherwise most likely felt like a cynical, studio-mandated cash grab.    

4. Heretic – As easily 2024’s best religious horror film, Heretic shines due to its intriguing original premise and a uniquely chilling villain turn from Hugh Grant. Sophie Thatcher and Chole East are likewise great as Grant’s young, unsuspecting victims, but what puts the film at #4 on my list is its uncommonly intelligent exploration of religious dogma. Whether a passionate Athiest or a devout Christian, the script consistently finds ways to unsettle the viewer through dialogue that consistently challenges established beliefs. A lot of movies have explored these themes of faith, but few have done so in a way that invokes such terror. 

3. The Substance –  It would’ve been more than satisfying if Coralie Fargeat’s sophomore effort was simply just a fun throwback to the 80s body horror of David Cronenberg (which it is), but it’s also thematically rich in a way that never diminishes its more accessible, surface-level horror elements. On top of this, the film features what is sure to be an era-defining role in Demi Moore’s long career. It’s a film that’s a lot of fun to look at but appropriately holds a lot of substance behind its flashy style. 

2. Longlegs – Other than a few big swings that will inevitably make certain viewers roll their eyes (and make others rejoice), Longlegs is a wonderfully directed, slightly supernatural take on the classic Silence of the Lambs (1991) formula. Nicholas Cage’s trademark, over-the-top performance will once again alienate certain viewers, but I feel it fits perfectly with Osgood Perkins’ dream-like choice of tone. It’s scary, fast-paced, well-acted, and looks great. It doesn’t sound like much, but it’s hard not to respect a film with so little to complain about. I can think of at least three scenes off the top of my head that I can’t wait to watch again.

1. Oddity – Although this takes the crown as my top horror experience of 2024, it’s also destined to be the year’s most underrated film. Saying too much about what it has in store will only spoil the fun, but I will say that it breaks out all the stops. Director Damian McCarthy utilizes a variety of the genre’s best techniques to keep the viewer locked in from beginning to end. This results in the rare kind of horror movie that succeeds on almost every level. I don’t want to share too many specifics, but I will say I can’t help but find something endlessly charming about a blind protagonist whose main defense mechanism is making everyone around her as uncomfortable as her disability makes her feel on daily basis.