As with every year, there are so many movies I wanted to see and didn’t get to. Great films get released every year that manage to slip past me. But it was a great year for horror films and these were the ones that caught my attention and kept my attention from 2023. If a film you’re expecting didn’t make this list, it means I either didn’t see it yet (like Saw X or Thanksgiving) or it didn’t strongly land with me (like Exorcist: Believer or Five Nights at Freddy’s).

HONORABLE MENTIONS

SLOTHERHOUSE and RENFIELD both brought a sense of fun to their respective proceedings, particularly from Nic Cage as Dracula in Renfield. And watching the Sloth absurdly slash through a series of college kids was funnier and more endearing than it ever had any right to be.

THE BOOGEYMAN and THE NUN II were both flawed films overall but were both much better than I expected them to be. Both had solid creature designs and some effective scares, even if the overall stories left me somewhat indifferent at their end.

PET SEMATARY: BLOODLINES got absolutely skewered this year. It was hard to find anyone delivering a positive review. So, I was genuinely surprised to connect with its characters and its tone. It is admittedly uneven, with a couple of plot threads that feel a bit undercooked. But it was thoughtful and more emotionally resonant than I’d expected, and I felt that it deserved a better response than it received.

THE OUTWATERS and DARK HARVEST were the very definition of “honorable mention” to me this year. Both films have quite a bit to praise, but neither quite break ground to make it to a favorites or best list. They’re unconventional each in their turn but both require some work on the audience’s part. Mileage may vary on whether you deem that work worth it, but I’d encourage you to look up each of them to see if it sounds like your thing.

25 FAVORITE HORROR FILMS OF 2023

25. SICK, dir. John Hyams

Written by Scream alum Kevin Williamson and anchored firmly in the environment of the pandemic, Sick was a surprisingly fun and atmospheric slasher with solid suspense and quality pacing. Its ultimate conceit holds it back quite a bit (and is likely to put off a subset of its audience), but it is fairly clever (sometimes) and genuinely well-constructed. Recommended for those who need that slasher itch scratched with something light, accessible, and (thanks, COVID) relatable.

24. THE BLACKENING, dir. Tim Story
When I saw the trailers for this, I was giddy. It had all the potential to be one of the best horror comedies of the year. As it turned out, it wasn’t quite funny or scary enough to reach the heights of my expectations, but it is still an excellently clever send-up of some great horror tropes (particularly when it comes to black characters). My favorite parts of this were the characters, who are well-drawn and endearing enough to elevate the somewhat weaker script.

23. M3GAN, dir. Gerard Johnstone

There was a fun bit of social media interplay between the M3GAN doll and Chucky that earned this some deserved attention. But a huge part of what made this film a win was its accessibility. It’s not too intense to distance the squeamish but it’s fun and sharp enough to please slasher fans. It has a relevant conceit without being overly self-serious and the final burst of mayhem is quite fun. Given the potential we’ve already seen demonstrated by the Child’s Play franchise for creepy dolls and the ongoing discussion surrounding AI, I suspect M3GAN to be a recurring horror staple for years to come.

22. MALUM, dir. Anthony DiBlasi

I never saw the original film, LAST SHIFT, which was crafted by the same director. But based on this claustrophobic and very scary remake, I’m likely to prioritize it soon. The premise is gruesome and some of the set pieces are truly unnerving. There’s a bit of stumbling through the first act while the premise is being established and the whole film relies pretty heavily on startles. But the film is brief and has an incredible sense of dread. Even if you see the ending as somewhat inevitable, it’ll rattle your nerves getting there.

21. COCAINE BEAR, dir. Elizabeth Banks

This gets bonus points for simply being exactly what you’d think it is. A bear stumbles upon a dropped shipment of an insane amount of cocaine and unleashes chaos on any hapless hiker or ranger that crosses her path. There are some very funny situational sequences in this and if you can embrace the overall absurdity of the premise, it sets you up for a lot of fun. It gets an added bonus for featuring the final on-screen performance of Ray Liotta, who is at his grouchy, gravelly best in this. Don’t do drugs and don’t poke the bear. But do check this out.

20. MOON GARDEN, dir. Ryan Stevens Harris

I’d be surprised if this film was on most people’s radar this year. I stumbled upon it almost completely by accident. But it immediately struck me as in the spirit of Labyrinth or Alice in Wonderland, but with a more direct horror flavor. A young girl falls into a dangerous coma following a fight between her parents. The film is largely about her journey through a fantastical world while trying to avoid a monstrous creature that feeds on her tears and meeting colorful characters along the way. Visually, this film is stunning. It’s the kind of piece that makes you sit in wonder at the creative bursts which produced these sequences. The overall narrative (particularly the resolution) is a bit underdeveloped, which holds it back from landing all of its core ideas. But it features a darling and vulnerable performance from young Haven Lee Harris and some of the most eye-popping imagery you’re likely to see this year. Not to mention that when it’s scary, it’s very scary. I love stumbling upon gems like this and trying to take a moment to highlight them for an audience that might not otherwise have heard about them.

19. SKINAMARINK, dir. Kyle Edward Ball

An undeniably unconventional horror film, Skinamarink is making some critics’ list as the best horror film of the year. I personally found it a bit too indulgent and overlong to land with them, but I’ll admit this film has a power that is hard to shake. It depends almost fully upon suggestion and psychological expectation. Boldly, it defies traditional narrative structures in favor of imagery, atmosphere, and sound design. There is a story here, but it is elusive and somewhat open to interpretation. I can imagine that theaters showing this held a palpable dread that likely made audiences more aware of their breath than they’d been all year. The home viewing experience will certainly diminish that power, but for pure invention and commitment, this one is still hard to shake off.

18. COBWEB, dir. Samuel Bodin

Bodin came to the attention of corner-seeking horror fans with the Netflix mini-series Marianne. This feature displays most of the traits for which he gained a favorable reputation. It has really creepy scares, solid design, and a subversive sense of playfulness amidst the bleak details. The film is held back a bit by feeling a bit too much like what we’ve seen multiple times before in terms of narrative conceits and shot construction, but the final third is gleefully effective for anyone looking for solid genre thrills.

17. CANDY LAND, dr. John Swab

One of the most compelling surprises to me this year was a film very quietly released in early January and became tucked away in some niche streaming platforms. John Swab’s Candy Land is not a film for either the prudish or the impatient. It contains lots of depictions and descriptions of sex interspersed with some pretty distressing violence. But it is one of the most interesting and compelling portraits of loneliness and unconventional community I’ve seen in years. It has a more thoughtful approach to its grindhouse tropes than you’d expect from a film about gas station sex workers infiltrated by an escapee from a religious cult. And its final beat is one of the toughest gut punches of any film I saw this year. Its barrier for entry is larger than most, but it is difficult to forget once the credits roll.

16. THE WRATH OF BECKY, dir. Matt Angel, Suzanne Coote

The 2020 film Becky was against type for home invasion films and introduced us to the spunky and resourceful title character (played by Lulu Wilson) as someone bad guys should watch out for. This sequel embraces the advantage of already knowing the type of character Becky and chucks her up against some baddies with swifter entry and even more flourish. The result is a fun and swiftly-paced sequel that still wisely leans upon the talents of its star to carry its main weight. Watching Wilson Die-Hard her way through these baddies is most of what you sign up for here and thankfully The Wrath of Becky gives us our money’s worth.

15. NO ONE WILL SAVE YOU, dir. Brian Duffield

Featuring a fantastic premise and a somewhat limited conceit, No One Will Save You was the surprise prelude into this year’s spooky season. Kaitlyn Dever is tasked with fending off invading aliens and coming to terms with her tortured past, all while deploying less than a dozen words of dialogue through the whole film. While the speechless element does strain credibility at times (and leaves the ending more than a little puzzling), the creature’s designs and their behavior are outstanding and the film boasts some nail-biting suspense sequences. Perfect as a dusky popcorn thriller on a low-key evening.

14. HUESERA: THE BONE WOMAN, dir. Michelle Garza Cervera

Less gruesome than its title implies, but still quite visceral and unsettling, Huesera: The Bone Woman takes a candid and unfamiliar look at pregnancy and new motherhood, delivering a film that is both challenging and sobering. It leans into aspects of motherhood that are less often explored and comes away with honest, potent observations that are as likely to offend as they are to encourage. And through that effort, the film delivers some really scary sequences, being one of the few films this year to extract audible yelps from me even though I was watching it alone.

13. BEAU IS AFRAID, dir. Ari Aster

If I were assessing this film based upon its first half, it’d be a contender for the top five on this list. This film began as a wildly inventive and bold exploration of everyday anxieties and rich character exploration that I found energetic and entertaining. Midway through the film, it begins to take even more bold turns and the entire piece consistently remains daring and visionary. But at three hours and with wildly divergent tonal swings, it begins to buckle under its own weight after a while. Despite incredible performances from everyone involved (but most especially from the staggering Joaquin Phoenix) and being completely packed with thought-provoking metaphors, Beau Is Afraid starts off wildly entertaining before becoming somewhat puzzling and eventually becoming work. But what it has going for it was still so compelling I couldn’t deny that it had left its mark on my imagination this year.

12. KNOCK AT THE CABIN, dir. M. Night Shyamalan

I’ll likely always be a Shyamalan fan at this point, even if he makes another string of duds. But Knock at the Cabin did represent a compelling turn for the polarizing director. It carries a fascinating premise (based upon the book by Paul Tremblay) and a really strong collection of performances (most notably a very against-type turn from Dave Bautista). But the diversions it takes from its source material and Shyamalan’s typical aversion to narrative ambiguity undermine some of the film’s more interesting elements. Despite these challenges, it’s a tense, thought-provoking chiller that deserves the conversational attention it received.

11. INFINITY POOL, dir. Brandon Cronenberg
Brandon Cronenberg is on a fascinating career trajectory. Infinity Pool, his second feature is more accessible and engaging than Possessor was, but no less transgressive and boundary-pushing in its presentation. It plays with ideas of self-destruction and a kind of exponential curve of indulgence. Despite its excesses visually and narratively, it has an undeniably strong conscience, anchoring its indictment of passively self-satisfying behavior in something that is more direct and clear. It’s still not going to be for everyone, but I found it to be an exciting next step in a very interesting career.

10. BROOKLYN 45, dir. Ted Geoghegan

There’s a case to be made that this would fit cleanly as a feature length Twilight Zone episode. The premise is understated: A small group of friends convene for a holiday party following the end of World War II, but the evening turns sinister when one of their friends proposes a seance. And this is likely where I should pause the surprise-filled plot. Brooklyn 45 nearly all takes place in that one room, driven by crisp and thoughtful dialogue and complex, fascinating characters. Its ending is provocative and haunting, where nothing is tidy even if it’s complete. This was a sleeper hit on streaming and generated a lot of discussion among those who saw it. Its subdued qualities keeps it a bit at bay against bolder or flashier entries, but it was one of the most interesting and unconventional horror films released this year.

9. TOTALLY KILLER, dir. Nahnatchka Khan

Imagine the pitch room for this: Back to the Future, but a horror movie. That’s all you really need to be ready for the tone and rhythm of this very fun time-travel slasher. It’s got vibrant, energetic performances (especially from solid lead Kiernan Shipka) and is as saturated in 80s nostalgia as an episode of Stranger Things. The only real criticism might be a somewhat lighter production quality (likely due to budget constraints) but the whole piece is so dang fun, it barely matters. It’s breezy, funny, and well constructed. Check it out, already!

8. INFLUENCER, dir. Kurtis David Harder

This was one of my favorite surprises this year. I practically rolled my eyes at another social-media-is-scary plotline, but gave it a shot after some strong initial responses. I was really thrilled at a genuinely surprising plot, filled with thoughtfully constructed twists and a sharper and smarter script than I would ever have expected. The performances and direction are all quite impressive and the story keeps you guessing about where things will develop, landing with a wonderful payoff to bring it all home. I shouldn’t say really anything at all about the premise except to go in as blind as possible, buckle up, and have fun.

7. THE ANGRY BLACK GIRL AND HER MONSTER, dir. Bonami J. Story

The template of Frankenstein seemed to connect strongly with creatives this year, as a handful of films used it to explore a whole kaleidoscope of issues in inventive ways. This one anchored itself directly in matters of racial justice and equity, where a brilliant young student riddled with grief over the death she sees all around her community commits to curing “the disease of death”, with predictably dreadful results. The script is really smart and the performances engage impressive emotional resonance. It all might be a bit predictable narratively (especially if you’re acquainted with the Frankenstein story) but this remix of the elements through a black suburban lens proved to be very effective.

6. EVIL DEAD RISE, dir. Lee Cronin

The Evil Dead franchise might be the only horror staple to never have a bad entry. It’s got mixed mileage depending upon viewer preferences, but every time this deadite well gets revisited, something fun, interesting, scary, or all of the above gets released. Rise is no different, shifting the story from a cabin in the woods to a rundown apartment building, but making all of the anticipated bold and gruesome choices you’d hope to see in a new installment. If you’re a fan of the franchise, you probably already saw this and loved it. But the better news is that it’s very accessible for newcomers who are curious to crack open the Necronomicon but don’t want to start from the beginning. Groovy, baby.

5. BIRTH/REBIRTH, dir. Laura Moss

As I mentioned before, Frankenstein stories had a moment this year. While Poor Things explored sexual development and gender norms; and The Angry Black Girl and Her Monster explored racial injustice; Birth/Rebirth tackled motherhood and scientific advancement. But for me, this film was one of the most provocative and energizing films of the whole year. It’s very simple narratively, and fairly subdued from a production standpoint, but the boldness with which it tackles deeply complex emotional and ethical quandries was stunning. It features two galvanizing performances from Marin Ireland and Judy Reyes and is unafraid to engage some troubling and haunting difficulties in its effort to explore grief, ambition, desperation, and motherhood. It’s a film I came to rather late in the year and wished I’d have had more time to champion it earlier on.

4. TALK TO ME, dir. Michael Philippou, Danny Philippou

One of the most exciting original releases this year, Talk to Me rightfully earns a spot on most lists of the best horror this year for its steady undercurrent of dread, its sharp and frightening premise, and its clever commentary about social pressures and dynamics. It has a bleak and grim trajectory which won’t be utterly surprising to savvy viewers, but the way that it unfolds its slow crawl through hell is tough to shake off once its over. It’s also refreshingly free of typical gimmickry and avoids the common tropes so prevalent to the genre. The result is a shock to the system and continues A24’s pedigree of galvanizing and unconventional horror stories.

3. GODZILLA MINUS ONE, dir. Takashi Yamazaki

It’s not a controversial or minority take to highlight how excellent this latest Godzilla film is. It rightfully caught the attention of both audiences and critics for a love-letter style return to form where the monster is a metaphor, the carnage is scary, and the human drama feels vital and meaningful. Despite a relatively simple and straight-forward script, Yamazaki has crafted a film which somehow feels like it’s about so much more than its surface. Godzilla the creature functions as both catalyst and catastrophe, while our characters on the ground go through journeys that root them in the simple essence of heroism, family, and making meaning out of the tasks ahead of you. It’s a film that’s accessible to anyone, even as a first-time Godzilla movie, and yet still able to captivate the imaginations of people who have loved the franchise for years. And that’s a towering feat to have accomplished by any standard.

2. SCREAM VI, dir. Matt Bettinelli-Olpin, Tyler Gillet

It’s hard not to feel a bit distressed about the prospects for the Scream franchise following the current (as of this writing) unraveling of the Scream VII plans, but Scream VI was one of the most exciting horror movie experiences I had this year. Despite some narrative disbelief, it managed to keep me on my toes, featured clever and unobtrusive callbacks, and wisely focused on interesting and meaningful characters in a way that this franchise hasn’t always delivered. Not to mention that Ghostface as a killer presence was as frightening as he’d ever been before (check that subway sequence). If it’s some time before we return to Woodsboro (or New York) again, at least this franchise’s last note was right on pitch.

1. WHEN EVIL LURKS, dir. Demian Rugna

An oppressively heavy and relentlessly bleak portrait of relational decay, When Evil Lurks is not for the sensitive or the weak of heart, but it is a powerful and impressively constructed film. Dante's epic classical poem stated that the inscription above the gates of Hell stated, "Abandon hope, all ye who enter here." When Evil Lurks expresses this more concisely -- "There’s no point in praying."

The premise works because its characters fully commit to it, not because it amasses a lot of earned narrative logic. So, at its most energizing, this is a suspenseful tale of a man trying to outrun his own inevitable undoing as it threatens to consume everyone he loves. At its heart though, is a painfully grim perception that when we are left to our own devices, we will be our own destruction. More than once, characters attest that God has died, expressing the blunt belief that they are hopelessly alone.

But the film isn't merely a nihilistic expression of helplessness. It's an examination of the futility of our own power and the limits of our control. It interrogates the notion we all must confront within ourselves that we are the best judge of our situations and our capabilities. It spotlights the failures of our choices to look after our land or our property; choices to escape with our insulated family; choices to ignore the cost of our impatience.

The horror of When Evil Lurks is as much a horror of the inner self as it is of outer threats. And it is one of the boldest films I've seen, fully committed to that exploration. It's a deeply affecting and very mature film, difficult to watch but even harder to dismiss or to forget. And I had not choice but to give it the top spot of horror films I’d seen this year.