Must-Watch Horror Movies Streaming On Shudder Right Now

Must-Watch Horror Movies Streaming On Shudder Right Now

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With a lineup ranging from timeless genre
staples like Halloween to modern classics that include Mandy and The Wailing, it’s not
exactly a challenge to find a winner among Shudder’s unhinged offerings. The bigger problem is knowing where to start. Given the stigma that’s generally accompanied
the vampire genre since a certain sparkle-skinned seed of night gained pop culture infamy, we’ll
go ahead and give you a free pass for having likely missed Michael O’Shea’s relentlessly
bleak The Transfiguration. O’Shea’s genre-redefining debut follows a
desperately lonely young New Yorker with a seriously misguided affection for vampire
fiction. Gritty, ponderous, and altogether mystifying,
The Transfiguration is at once a daring, wildly insightful examination of inner city alienation,
a torturous exploration of post traumatic stress, and an obsessive exploration of a
fantasy life taken far past the edge of sanity. For the record, The Transfiguration is also
a gruesome, bloody exploration of urban decay that’s wholly unafraid to dwell in scorched
shadows and filthy back alleys. Pitch-perfect performances from newcomer Eric
Ruffin and up-and-comer Chloë Levine help ground this moody, profoundly unsettling tale
in a heightened state of reality that often feels a little too real for comfort. There are horror movies that indulge in the
fleeting pleasures of jump scares and blood lust, and then there are movies that seek
to expose you to things that will unnerve you in ways you didn’t think possible — the
sorts of things that stay burned into your brain for months and years after you’ve seen
them. Hagazussa is 110% of the latter school. If you’ve yet to experience Lukas Feigelfeld’s
gothic folk nightmare about an isolated woman struggling to maintain her sanity and raise
her infant daughter in the wilds of 15th Century Europe, now’s the time to dive in. Just know that the film isn’t tailored to
horror fans who get their kicks from cheap scares and buckets of fake blood. Truth be told, there’s hardly an ounce of
fake blood to be seen in Hagazussa’s 102-minute runtime. But what it lacks in gore-fueled mayhem, it
more than makes up for in ominous energy and gothic imagery. Feigelfeld uses a heavy dose of both to lull
you into a trance-like state before bringing the hammer down with a shocking finale that’s
certain turn the stomach of even the most hardcore horror fan. Consider yourself warned. Anna Biller’s pseudo-horror spoof The Love
Witch is the very definition of a breakthrough film — though it’s admittedly not the sort
of classic horror schtick some would expect in a genre breakout. Set in the modern day, The Love Witch tells
the tale of a beautiful young witch named Elaine who’s determined to use her spells,
magic, and callous gender-centric fantasies to make a man fall in love with her. The problem is, her spells and magic work,
and they tend to leave a love-addled dead man in their wake. When the bodies start piling up, locals start
to take notice of Elaine’s bewitching ways, and the young sorceress’ life begins to spin
out of control. Biller takes a bracingly original approach
to this deceptively simple witch’s tale, pitting Elaine’s ’60s-esque style and persona starkly
against The Love Witch’s modern day setting. The result is a dizzying, often hilarious,
frequently unnerving film that finds Biller telling a bold little anti-horror tale with
some refreshingly insightful views on gender roles. Holiday horror has been a tradition for years,
with filmmakers, studios, and streaming services using the concept to reign bloody terror over
every holiday from Thanksgiving to April Fools’ Day. But back in 1974 — a full four years before
Halloween helped make holiday horror legit — that was not the case. So it’s no surprise that not many people really
knew what to do with Bob Clark’s menacing holiday slashterpiece Black Christmas upon
release. 35 years later, people still don’t quite seem
to know what to make of Clark’s wicked little holiday nightmare. And okay, that may be because Clark’s name
is typically associated with a holiday film he made a decade after Black Christmas — a
yuletide charmer about a boy who really, really wants Santa to leave him a carbine-action
Red Ryder B.B. gun under the tree. Yes, the guy who directed Black Christmas
also directed the iconic, family-friendly holiday fable A Christmas Story — though
we’d argue that Black Christmas is the better movie. “Isn’t Santa naughty? Oh, ho ho f—.” It’s also widely regarded as one the first
full-on slasher flicks — one that finds a bevy of sorority girls who are being terrorized
by a madman over Christmas break. From that now-classic slasher setup, Clark
and screenwriter Roy Moore craft a bleak, breathless, socially-conscious drama overflowing
with the sort of shocks and genre staples that have been copied over and over in slasher
movies — only Black Christmas is so much smarter. If the past few years have taught us anything,
it’s that the so called “Hollywood dream factory” is an absolute nightmare for aspiring young
actresses. Even still, thousands of would-be starlets
flock to Tinseltown every year in hopes of becoming the next big thing. Most of them will fail miserably. And those who make it may be forced to sacrifice
parts of themselves they cannot get back. “Dreams require sacrifice… and so do we.” Released in the fall of 2014, Kevin Kölsch
and Dennis Widmyer’s harrowing Hollywood drama Starry Eyes is a film painfully aware of those
facts. As such, it now plays as a near-prophetic
piece of horror fiction that — even in its unbridled, brutalistic insanity — somehow
doesn’t feel like it’s all that far off the mark. On the surface, of course, Starry Eyes really
could not be more realistic, as it follows the talented young Sarah who, on the verge
of finally landing her big break, has the proverbial rug pulled by a sleazy producer
with ulterior motives. Turns out those motives are far more devious
than anyone might’ve expected — a fact Sarah learns the hard way when she eventually succumbs
to his advances. What follows is a ruthless fever dream that’s
part body horror nightmare, part occult drama, and part vicious Hollywood satire. All of which likely makes Starry Eyes sound
a bit nutty. Believe us when we say it is — and in all
the best ways. If Repulsion-style psychodramas are your cup
of tea, Robert Altman’s Images is a legit must see. Released to little fanfare in 1972, Images
was the middle film in Altman’s unofficial “Gothic Trilogy,” sandwiched between two deeply
simpatico female-centric character studies That Cold Day in the Park and Altman’s overlooked
masterwork 3 Women. Like those films, Images puts a disturbed
woman center stage and surrounds her with Altman’s signature style. Unlike its sister films, Images utilizes style
and setup to cast an unflinching sense of anxiety over the action, fleshing out the
dark impulses awakening within a tragically fractured psyche. As for the story, we’ll simply tell you that
it plays out like a schizophrenic doppelgänger nightmare with the woman in question losing
her grip on reality, and finding men from her past and present blurring in and out of
seemingly dual realities. If you’re anything like us, your life was
never quite the same after experiencing the visceral, relentlessly brutal freak show that
is Hooper’s The Texas Chain Saw Massacre. Shot with virtually no budget on gritty 16
mm, featuring no name actors, and possessed of a near suffocating sense of hyper-reality,
Hooper somehow created a horror classic with his twisted tale of cannibalistic hillbillies
out to snack on an unwitting group of youngsters. There are some things in this film you just
can’t unsee. As for the things you simply can’t unsee,
well, if you’ve already experienced The Texas Chain Saw Massacre, then you hardly need us
to tell you about them. If you haven’t, we wouldn’t dream of spoiling
the grisly horrors that await you within the movie’s sweaty, white-knuckled 83 minutes. Over the years, there have been a handful
of legendary actor and director pairings in the world of cinema. One of the more unsung pairings is that of
Jeff Nichols and Michael Shannon. To date, Shannon has featured prominently
in all five of Nichols’ features, and if you want to see the duo at their absolute best,
look no further than their chilling, apocalyptic psychodrama Take Shelter. Part rural family drama and part doom-fueled
psychological thriller, Take Shelter follows a farmer plagued by horrific visions of a
coming cataclysm. Fearful of what lies ahead, the man’s hard-wired
paranoia leads him to build an elaborate shelter in his back yard — a course of action that
threatens to tear his family apart before the end of days can. Featuring career-best work from Shannon and
a star-making turn from Jessica Chastain, Take Shelter finds Nichols playing in genre
tropes with the precision of a horror master, building the madness to fever pitch that’ll
leave your heart in your throat and your jaw on the floor. You should know up front that the first 30
minutes of Most Beautiful Island will feel a lot more like a deeply personal indie drama
than a full-blooded horror film. Stick with it, because as the action moves
along, this “inspired by true events” tale of a doomed American dreamer morphs into a
neo-noir nightmare that will leave you shaken to your core. Written and directed with visceral intensity
by first timer Ana Asensio, who also stars, Most Beautiful Island follows the travails
of the troubled, undocumented Luciana who — in desperate need of cash — takes a
mysterious job that pays a large sum of money. It seems too good to be true. And it is. Asensio wisely makes you wait to see what
the job is, instead using her film to depict the day to day nightmare that is immigrant
life in America. We find out about that job in film’s final
20 minutes, and we can say with all confidence that you’ll never see it coming — and that
you’ll spend the pulse-pounding final moments of Most Beautiful Island on the verge of a
fear-induced nervous breakdown. Sounds like fun! Few horror sub-genres have cast quite as long
a shadow as that of Giallo Horror, a stylized, slasher-centric genre that’s given us horror
fare like Dario Argento’s Suspiria and Sergio Martino’s All the Colors of the Dark. While Shudder rightfully sports one of the
more impressive slates of Giallo flicks, we’d urge you to forgo revisiting those until you’ve
seen the Giallo entry most commonly credited with birthing the genre. That flick is Mario Bava’s stylish, visually
arresting murder mystery Blood and Black Lace. Set largely within the confines of a posh
Italian fashion house, this crafty, blood-soaked thriller takes a relatively formulaic “whodunnit”
narrative about a killer offing models, and spins it into a savage takedown of the world
of high fashion. Along the way, Bava employs all the trappings
we’ve come to regard as Giallo staples — expressive photography, bold use of colors and lighting,
and a masked psychotic killer with an affinity for leather gloves — and almost unwittingly
transcribes the formula for Giallo horror as we know it. In doing so, Bava also made a first-rate slasher
flick that influenced every genre gem that came after. Over the past eight years, writer-director
Mickey Keating has quietly crafted one of the more intriguing genre resumes in the movie
biz. 2015 alone saw Keating release two feature
films. The first was a flawed but fascinating family
drama/sci-fi confection by the name of Pod. The second was a brooding, black-and-white
beauty about a young woman’s spiraling descent into murderous madness. Titled simply Darling, that film is as close
as Keating has come to a legit horror masterpiece in his still young career, and it features
a positively electrifying performance from up-and-coming star Lauren Ashley Carter. As for the Darling’s plot, it first presents
itself as a simple haunted house chiller following Carter’s Peggy as she signs up to play caretaker
to a gothic-styled brownstone — which naturally sports all manner of creepy backstories about
hauntings and occult activities. There’s even a locked room that Peggy is forbidden
from entering. From that admittedly cliched setup, Keating
spins a sinister, surprisingly gory, and wonderfully complex psychological thriller in the vein
of Repulsion and The Shining. While Darling doesn’t quite reach the iconic
level of those films, when a horror flick looks this good and is so lovingly assembled,
it hardly needs to. Check out one of our newest videos right here! Plus, even more Looper videos about your favorite
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  1. Wow thanks for waiting tell my free shutter trial just ran out 😒 WATCH creepshow its actually good and we need more like it come on HBO reboot tales from the crypt my favorite show

  2. The Love Witch is a fun little film. You get lost in the cinematography and wardrobe, and forget it's set in the present. Those smartphones got me every time. LoL!!!

  3. I been loving shudder so glad I came across it two months ago especially since it has the creepshow TV series it just started two weeks ago

  4. The Love Witch is literally like the best movie ever made! If you're gonna watch any of these movies, watch this one!!

  5. Shudder is my favorite streaming channel. It's like netflix for horror movies. They have independent shorts, foriegn horror flicks and some rare hard to find classics. One year, they even showed the uncut version of "Devils" (1972)

  6. I saw Darling and was one of the most boring so called horror films I’ve seen. Have to disagree with looper on this one.

  7. Of this whole list i've seen only 3
    Black Christmas
    Texas Chainsaw Massacre
    Blood and Black Lace
    I have yet to see the rest

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