Horror movies may not be the classiest films, but who says cinema needs monocles and coattails? A genre as old as filmmaking itself, horror cinema continues to dominate theater screens and our smart TVs. And if you’re looking for one of the best places to catch up with modern genre titles and classics alike, you should check out Amazon Prime Video.
Packed with genre titles from every era and corner of the globe, there’s something terrifying here for all viewers, and it’s our job to call out all the best titles. Here are all the best horror movies you can stream on Prime Video this month.
If you don’t see anything of note on Amazon Prime, we’ve also rounded up the best horror movies on Netflix and the best horror movies on Hulu.
A cinematic adaptation of the children’s book series of the same name by Alvin Schwartz, director André Øvredal brings us Scary Stories to Tell in the Dark, a solid PG-13 chiller with plenty of tricks up its sleeve. Our story follows Stella, Auggie, and Chuck, three teenagers out for a night of prank-filled, Halloween fun in 1968 Pennsylvania.
But after stealing a tome of horror tales from a suspected witch and heiress to the town’s once-bustling paper mill, Sarah Bellows, the ghouls from Sarah’s stories start coming to life and haunting the unsuspecting youths. While it’s not the most revolutionary genre title in terms of narrative, the many CGI and practical antics on display in Scary Stories… will send plenty of shivers down your spine.
The eight film in the still-ongoing Saw franchise, 2017’s Jigsaw plays to the typical Saw film formula: Unsuspecting victims are forced to participate in a series of deadly games curated by whatever notorious malcontent is calling themselves “Jigsaw” this time around.
But with the O.G. serial killer, John Kramer, dead in the ground for over a decade, who exactly is still willing and able to pull the murderous strings? Like the many lesser versions of the original film that came before it, Jigsaw doesn’t stray too far from the grisly visuals that the series is known for. That being said, it’s still a decent watch, especially for longtime fans of the saga.
The directorial debut of Adam Robitel, The Taking of Deborah Logan follows a group of documentary filmmakers who are looking to produce a film about the crippling affects of Alzheimer’s disease. Their main subject is a woman named Deborah Logan (Jill Larson), a sufferer of dementia who begins experiencing erratic behavior. According to Deborah’s physicians, her behavior is par for the course, but when these eccentricities begin developing links to terrifying crimes and supernatural phenomena, the documentarians realize that their very lives are at stake. A found-footage gem that many fans of the sub-genre will enjoy, The Taking of Deborah Logan is a lesser-known horror entry that doesn’t get talked about as much as it should.
The feature film debut of writer-director Parker Finn, Smile stars Sosie Bacon as Dr. Rose Cotter, a psychiatrist who finds herself haunted by disturbing specters and other supernatural phenomena after one of her patients ends her life right in front of her. As the days and weeks go by, Rose starts losing her grip on reality, leading her to do a bit of investigating into her client’s demise.
Her discovery: a morbid and long-spanning connect-the-dots of self-mutilation. Leaning on jump-scares (albeit some very good ones) and measured performances to spin its terror threads, Smile may feel familiar to many fans of the genre, but who said wearing your influences on your sleeve has to be a bad thing?
Serving as the bookend to writer-director David Gordon Green’s trilogy of Halloween films (made up of 2018’s Halloween and 2021’s Halloween Kills), Halloween Ends decides to go totally off-formula for its final run with the infamous Michael Myers character, focusing instead on two returning characters: Laurie Strode (Jamie Lee Curtis) and her granddaughter Allyson (Andi Matichak), one new face (Rohan Campbell), and three intertwined stories of survival in the wake of tragedy.
Don’t worry fans, for even though it takes Myers a solid forty minutes-plus to join the fray, once he makes himself known, we’re treated to one of the gutsiest and most polarizing depictions of the madmen once billed as “The Shape.”
Cropsey is the kind of documentary that has us wishing there were more documentaries just like it; and even if you’re a horror fan who never treads the waters of non-fiction, we highly recommend giving this one a go. Produced and directed by Joshua Zeman and Barbara Brancaccio, Cropsey explores the titular urban legend, a monster of a man who preyed upon five New York City children through the ‘70s and ‘80s.
But far more than a wandering wraith, the filmmakers discover that the horrible acts of convicted child kidnapper Andre Rand may be at the root of the decades-old myth. Profound and disturbing, Cropsey has gained quite the following over the last 15 years or so, and for good reason: it’s a sensational and disturbingly horrific doc that’s worth your time.
Based on the Peter Genoway play of the same name, director Cody Calahan’s The Oak Room stars Breaking Bad alum RJ Mitte and Peter Outerbridge as Steve and Paul. Hoping to settle a long-ago score, a homecoming Steve (Mitte) returns to a bar he once frequented, where he decides to trade harrowing stories with the miserly barkeep. It’s these chilling words that possess a greater part of the film, with the various vignettes delivering countless twists and turns throughout the runtime.
Nocturne stars Sydney Sweeney (Euphoria, White Lotus) and Madison Iseman (I Know What You Did Last Summer) as twin sisters Juliet and Vivian. Accomplished pianists attending a prestigious music school, Vivian’s abilities are near-virtuoso and always a step above Juliet’s hands. That is until Juliet comes into the possession of a music theory book from a student that had jumped to her death. As the tome begins granting Juliet newfound confidence and dedication to the piano, her inflated ego meshes with a series of supernatural events that threaten her own life and the safety of those around her.
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