The 25 Best Horror Movies Streaming On Netflix Right Now

It’s hard to catch all the best scary movies on Netflix. We did the hard work for you.

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Netflix, of course, is the Internet’s premier cinema hub that’s powered by a vast but often uneven collection of instantly watchable films. For every The Piano Teacher, there's a Zombie Ass: Toilet of the Dead. The “Horror” section of Netflix’s instant streaming library, though, is surprisingly top-notch. Frankly, trimming the numerous sub-categories down to the following list of The 25 Best Horror Movies Streaming on Netflix Right Now was quite the arduous mission, one that left several worthwhile films behind. You know what means, though? You’re about to experience nothing but terrifying, first-class virtuosity.

You want tense thrillers? You got it. Gore galore? Done. Monster movies? Yeah, obviously. The indies, which end up being that much scarier because of their low-fi vibes? Again, yes. What we're trying to say is that Netflix is the only place you need to go to scare the shit out of yourself.

And after you binge-watch all the scary, terrifying, and disturbing movies on this list, laugh off your fear with the best comedy movies Netflix has to offer. If you have a special someone to cozy up with in front of your laptop screen, you might want to browse our list of the best romantic movies available on Netflix right now. Not feeling a specific genre? Just pick one of the overall best movies that are streaming on Netflix right now. Or if you're looking for a smaller (or greater, depending on how many episodes you watch) commitment, check out the top TV shows on Netflix right now. You can't go wrong with these selections. When you've un-glued yourself from your couch, you'll be thanking us.

This list is up to date as of March 16, 2016.

The Host (2006)

Director: Bong Joon-Ho
Stars: Kang-Ho Song, Hie-Bong Byeon, Hae-Il Park

Not to be confused with the 2013 U.S. film also named The Host, this sci-fi horror brings us to Seoul, Korea on the banks of the Han River. Snack bar owner Park Hee-bong lives along the bank with his family of two sons, a daughter and granddaughter. One day a monster emerges from the Han River, sparking hysteria in Seoul. The Korean Loch Ness monster, during its reign of terror, snatches up Park Hee-Bong’s granddaughter.

The film goes beyond typical scares and uses the horror genre to present a political satire that portrays the South Korean government as bureaucratic, useless, and uncaring.

the conspiracy (2013)

Director: Christopher MacBride
Stars: Aaron Poole, James Gilbert

There's nothing better than when adventurous young filmmakers see an excellent yet tricky idea through to a satisfying end. That's one way to describe the viewing experience of watching Christopher MacBride's first-rate The Conspiracy, an engrossing faux documentary about a couple of filmmakers descending deeper and deeper into the world occupied by those who nervously believe in the Illuminati, 9/11 conspiracies, and other New World Order paranoias.

MacBride and company intriguingly use real-life theories and sources of investigation, namely The Tarsus Club and the Bohemian Grove rituals, to construct an airtight thriller that starts off as an investigative mystery before a third act where first-person horror takes over. In that final section, The Conspiracy pulls off that always complicated trick known as "the ambiguous ending," leaving viewers with plenty to think about and, depending on your tolerance for bizarro horse-face masks, even more to lose sleep over.

here comes the devil (2013)

Director: Adrián García Bogliano
Stars: Francisco Barreiro, Laura Caro, Alan Martinez, Michele Garcia

Argentina's own Adrián García Bogliano can't be put into any one kind of box within the horror genre. With each new film, the young writer-director totally shifts gears and challenges himself to subvert a common scary movie trope; in Here Comes the Devil, Bogliano tries his hand at the supernatural, telling an unsettling and unpredictable tale about two loving, though romantically fragile, parents struggling to figure out where their two young kids have been acting so oddly after returning from a mysterious cave.

Achieving a steady, overwhelming mood of dread from start to finish, Bogliano's latest twists and turns its way into a lane occupied by the most daring of horror movies, where familiar concepts and images never play out how one might expect and interesting, if not sometimes questionable, behind-the-camera choices show a director who's gamely open to risks.

black death (2011)

Director: Christopher Smith
Stars: Sean Bean, Eddie Redmayne, Carice van Houten

With each film that he makes, British director Christopher Smith further establishes himself as one of the genre community’s most exciting and unpredictable talents. In 2004, he released a particularly nasty piece of work in Creep, a claustrophobic monster movie; two years later, he flipped the slasher movie concept on its head with the horror-comedy Severance, followed in 2009 with the stellar mind-bender Triangle. In 2011, though, Smith unveiled his most impressive work to date: Black Death, a humorless, grim medieval horror film.

What starts out as a road, or better yet “crusade,” movie (led by Sean Bean, because, after all, you can’t have a sword-and-shield production without him) slowly descends into a gruesome exhibition of God-fearing, religious anarchy. Black Death has a lot to say about the darker side of faith; Smith, along with screenwriter Dario Poloni, ask their questions and vaguely provide answers so that, by the film’s downbeat conclusion, you’ll be left shell-shocked and eager to debate.

stake land (2011)

Director: Jim Mickle
Stars: Nick Damici, Connor Paolo, Kelly McGillis, Danielle Harris, Sean Nelson, Michael Cerveris

The thought of yet another vampire project has lost its gusto. That’s what happens when popular culture transforms the once-scary bloodsuckers into both sissy pin-ups who glisten and don’t eat meat (see: Twilight) and sex-crazed citizens (see: True Blood). Going against such adversity, writer-director Jim Mickle, along with co-writer and star Nick Damici, charged right into the vamp genre with Stake Land, an independent mish-mash of 28 Days Later…, The Road, and 30 Days Of Night.

But Mickle and Damici figured out how to set their post-Dracula flick apart: by making the vampires unsociable killing machines that are actually secondary to rich character development. Damici, a worthy action hero for the IFC circuit, and fresh-faced Connor Paolo play a pair of grizzled survivors (which includes scream queen Danielle Harris) trudging through a post-apocalyptic wasteland full of supercharged vamps, Satanic cults, and gorgeous cinematography.

We Are What We Are

Director: Jim Mickle
Stars: Ambyr Childers, Julia Garner, Bill Sage, Michael Parks, Kelly McGillis, Wyatt Russell, Nick Damici, Jack Gore

Jim Mickle is more than ready for his close-up. Quietly, the independent writer-director is the horror genre's most gifted young talent, a compelling mix of Terrence Malick and a young Wes Craven. Although his films don't chump out on the gore and violence, Mickle's style of scary moviemaking is impressively elegant, putting heavy emphasis on characters, cinematography, and patient, human narratives. See his 2011 vampire flick Stake Land, or just go directly to his latest, the cannibal drama We Are What We Are, his best movie yet.

A remake of Mexican filmmaker Jorge Michel Grau's grim 2011 festival darling of the same name, Mickle's We Are What We Are is the rarest of genre re-imaginings, one that's much better than its predecessor and doesn't merely rehash what's already been done. Mickle and writing partner Nick Damici move the story flesh-eating family dynamic to rural upstate New York, centering on a God-fearing, subtly tyrannical patriarch (a menacing Bill Sage) and his two teenage daughters (Ambyr Childers and Julia Garner), both of whom want to drop their family's history of ritualistic cannibalism and live like normal kids. Daddy doesn't want that for them, unfortunately, and We Are What We Are shows the family's disintegration, one murder and intestine feast at a time.

It's a grisly, disturbing horror film that even the most uptight of snooty film critics has to appreciate. In time, Jim Mickle's name will be on all of their minds.

let the right one in (2008)

Director: Tomas Alfredson
Stars: Kare Hedebrant, Lina Leandersson, Per Ragnar

Say your girl loves vampires, but her measuring sticks for great bloodsucker characters are Edward Cullen and Bill Compton—first off, we feel your pain. Secondly, it sounds like she's ready for the "Let the Right One In Test."

Antithetical to Twilight and True Blood in every way, Swedish director Tomas Alfredson's slow-burning undead drama handles budding love better than Bella/Edward (even though, yes, the suitors are a little boy and an equally little girl vamp) and is scarier in its quietest moments than True Blood's Eric Northman ever is at his most diabolical.

Show Let The Right One In to wifey and see if she's willing to admit its superiority; if not, try not to hide your disappointment beneath a Taylor Lautner shirt.

At the devil's door (2014)

Director: Nicholas McCarthy
Stars: Naya Rivera, Ashley Rickards, Catalina Sandino Moreno

At the Devil’s Door gives Glee's Naya Rivera and MTV’s Awkward’s Ashley Rickards the opportunity to leave their high school antics behind for some old-fashioned Satanism.

Writer-director Nicholas McCarthy’s three-narrative script is unusual. Rickards plays a young girl who, because she’s sprung off a new boyfriend, haphazardly decides to sell her soul to the devil; Oscar nominee Catalina Sandino Moreno is Leigh, a real estate agent tasked whose latest must-sell home has quite a few horrific secrets, one of which reveals itself to her right away; and Rivera, meanwhile, is Moreno’s younger sister, Vera, a free-spirited artist who has no desire to get domesticated, even though Leigh has specific reasons for wanting Vera to start a family.

Hovering over the three characters is, as the title suggests, Lucifer himself, and McCarthy doesn’t hold anything back. The devil is seen throughout the film, accentuating At the Devil’s Door’s tense and bleak energy. It’s a horror movie for people who don’t like to laugh much. Basically, it’s the anti-Glee. Fans of McKinley High’s New Directions won’t know what hit them.

The den (2014)

Director: Zachary Donohue
Stars: Melanie Papalia, David Schlachtenhaufen, Matt Riedy, Adam Shapiro, Anna Margaret Hollyman

Patience is a must while watching The Den, writer-director Zach Donahue's more-than-meets-the-eye exercise in found-footage horror. In its early sections, the film, about a grad student (an impressive Melanie Papalia) researching the user habits of a video-chat website, suffers from lazy online weirdo caricatures. Papalia's character gets bombarded by horny dudes looking to score, and it's all one-note and hindered by hammy performances. But The Den takes an unexpectedly dark and fucked-up turn for its third act, and that's when Donahue pulls off some of the creepiest first-person POV sequences in recent memory. The Den's bleakness and Internet-as-Hell theme accelerate as Papalia's situation worsens.

For its grand, unnerving finale alone, it's hugely deserving of a DVD/Blu-ray revival and a cult following of horror fans who like their scares aggressively unpleasant.

Oculus (2014)

Director: Mike Flanagan
Stars: Karen Gillan, Brenton Thwaites, Rory Cochrane, Katee Sackhoff, James Lafferty

It's a minor miracle that Oculus received such a big, widespread theatrical release in April 2014. Typically, horror films as thoughtfully made and artistically ambitious as writer-director Mike Flanagan's sophomore feature are relegated to VOD and/or smaller art-house cinemas. But thanks to super-producer Jason Blum (Insidious, Sinister, The Purge), who snatched up the film's distribution rights at the 2013 Toronto International Film Festival, Oculus defied the odds.

And, unsurprisingly, audiences were mostly confused. Rather than just another cookie-cutter Hollywood horror film, Flanagan's progressive Oculus—about a haunted mirror that destroys a once-loving family over decades—pushes the genre's boundaries in ways serious horror fans wish more films would. First and foremost, it's character-driven, spending enough time with its emotionally tortured protagonists, brother and sister duo Kaylie (Karen Gillan) and Tim (Brenton Thwaites) to make its wildest conceit all the more impactful. That conceit is Flanagan's intricately executed dueling of realities, with the past repeating itself directly alongside the present—it's a risky supernatural trick that Flanagan tightly maneuvers around.

Oculus is evidence that the independent horror scene's as vibrant and imaginative as ever—even if films of this kind are ultimately better served outside of multiplex chains.

Day of the dead (1985)

Director: George A. Romero
Stars: Lori Cardille, Joseph Pilato, Terry Alexander, Jarlath Conroy, Anthony Dileo Jr., Richard Liberty, Sherman Howard, Gary Howard Klar, Ralph Marrero

Fact: Anyone who makes a zombie movie, or even a TV show like The Walking Dead, nowadays owes a massive debt to Mr. George A. Romero, and most, if not all, of the filmmakers will gladly admit to that. The grandaddy of the undead motion picture, the genre icon first achieved immortality in 1968, when his no-budget (i.e., a reported $114,000) feature film debut Night of the Living Dead first premiered and quickly changed the game. Then, in 1978, Romero somehow bested Night with the epic Dawn of the Dead, which includes makeup effects by Tom Savini that have yet to be outdone.

Due to all of the rightful love sent toward Night and Dawn, though, the third installment in Romero's original Dead trilogy, Day of the Dead (1985), is quite often overlooked, or, even worse, frowned upon by critics. One frequent complaint is that the script, about nihilistic Army men and idealistic scientists living in an underground bunker to avoid becoming zombie food, is too preachy, spending too much time on back-and-forth monologues. Others attack the actors' unevenness in performance quality.

But here's the thing: The people who make voice those qualms are buffoons. Or, more delicately put, they need to revisit Day of the Dead and see for themselves why, in some respects, it's Romero's greatest zombie movie. Granted, Night and Dawn have better scripts, and even better acting, but Day by far has the best makeup work of them all. As seen in the image above, Savini, Greg Nicotero (who now produces The Walking Dead, as well as handle the AMC hit's makeup effects), and their team went all out when it came to Day's gore; the film's climax, in which the zombies gain access into the bunker and get to finger-ripping, eye-gouging work, is a thing of visceral, and viscera-packed, beauty.

antichrist (2009)

Director: Lars von Trier
Stars: Willem Dafoe, Charlotte Gainsbourg, Storm Acheche Sahlstrøm

Say you're feeling miserable, right, and one of your buddies is always smiling and lighting with joy-you're looking to bring him down a peg, eh? Invite him over, flip open your laptop and consult Netflix for some Antichrist, yet another mega-downer from Danish polarizer Lars von Trier. The heartwarming tale of a married couple's descent into madness and graphic mutilation in the wake of their infant son's accidental death (which von Trier shows in slow motion, mind you), Antichrist is liable to make a Glee reject want to lock his or herself indoors for an extended period of time. At least they'll have done so after watching a beautifully shot and commendably fearless work of mean-spirited art.

The abcs of death (2013)

Directors: Kaare Andrews, Angela Bettis, Ernesto Diaz Espinosa, Jason Eisener, Bruno Forzani, Héléne Cattet, Adrián García Bogliano, Xavier Gens, Lee Hardcastle, Jorge Michel Grau, Noboru Iguchi, Thomas Malling, Anders Morgenthaler, Yoshihiro Nishimura, Banjong Pisathanakun, Simon Rumley, Marcel Sarmiento, Jon Schnepp, Srdjan Spasojevic, Timo Tjahjanto, Andrew Traucki, Nacho Vigalando, Jake West, Ti West, Ben Wheatley, Adam Wingard, Yudai Yamaguchi

Comprised of 26 directors each presenting a different means of life termination based on letters from the alphabet, The ABCs of Death boasts one of those concepts that sounds amazing in theory but has a high potential of turning into a clusterfuck in execution. But it comes with fervent, pleasant enthusiasm to report that The ABCs of Death is an absolute blast.

Granted, several segments are complete wastes of time, namely The House of the Devil filmmaker Ti West's disappointingly lazy "M is for Miscarriage" and Angela Bettis' "E is for Exterminate." The combined weakness of the film's lesser offerings is easily dismissible, however, when one takes into account the awesomeness of The ABCs of Death's high-points, from Deadgirl director Marcel Sarmiento's exceptional "D is for Dogfight," Ben Wheatley's (Kill List) intense first-person exercise "U is for Unearthed," and Jason Eisener's (Hobo With a Shotgun) demented and uncomfortably hilarious "Y is for Youngbuck."

Don't believe the negative hype that's been circulating around the film in recent weeks—though it's flawed, The ABCs of Death is, altogether, a giddily sick, nonstop shot of sadistic perversity to one's system.

The snowtown murders (2011)

Director: Justin Kurzel
Stars: Daniel Henshall, Lucas Pittaway, Louise Harris

Looking for a downer of the most visceral kind? Try Australian filmmaker Justin Kurzel's phenomenally bleak The Snowtown Murders, the “based on a true story” serial killer knockout about Aussie’s most notorious homicidal maniac, John Bunting (a masterful Daniel Henshall). From 1992 through 1999, using his disarming charm and manipulative personality, Bunting infiltrated a practically destitute community and amassed a growing legion of followers to help him slay those he deemed as wrongdoers.

Cleverly, Kurzel and screenwriter Shaun Grant enter the hellish events through the eyes of a sympathetic teenager, Jamie (Lucas Pittaway); fatherless and lonely, Jamie yearns for a paternal connection, which, unfortunately, he finds in Bunting. How Jamie’s life devolves into misery and bloodshed is what gives the unflinching Snowtown Murders the ability to have such a vice-like hold on your nerves, right down to the film’s intensely grim final shot.

The babadook (2014)

Director: Jennifer Kent
Stars: Essie Davis, Noah Wiseman, Daniel Henshall

Storybooks and imaginary friends are pretty typical for any kid growing up. The Babadook takes both commonalities and turns them into a sinister, disturbing force in the lives of a recently widowed mother and son. The imaginary friend is turned into a boogeyman creature, and while the mother, played by Essie Davis, struggles to brace reality, the Babadook won’t let her, leading the family into utter terror and turmoil.

The Australian film isn’t another cheesy scary movie. It showcases real horror as it reaches into your childhood nightmares and brings them back to life onscreen.

Creep (2014)

Director: Patrick Brice
Stars: Patrick Brice, Mark Duplass

While found footage reigns supreme in horror (whether viewers like it or not), Creep defers from the hit or miss reputation of the style by actually being worth watching. A freelance videographer, played by Patrick Brice, takes on an assignment worth $1,000 for the day from Craigslist. Filming a terminally ill soon-to-be father for a day named Josef, played by Mark Duplass, seems easy enough. Except that Josef doesn’t won’t let him leave.

All aspects of the film from its rural mountain setting, Duplass’s unsettling performance to the incredibly dark humor makes an aptly titled film one that pushes the viewer’s limits.

honeymoon (2014)

Director: Leigh Janiak
Stars: Rose Leslie, Harry Treadaway

Rose Leslie is most known for her role on Game of Thrones where she utters the now famous line, “You know nothing Jon Snow." But in 2014 she appeared in Honeymoon, a horror film directed by Leigh Janiak and starring Harry Treadaway, who currently stars on Showtime’s Victorian horror series, Penny Dreadful. Leslie and Treadaway play a newlywed couple who take their honeymoon in a middle-of-nowhere cabin—you know, always a good idea. Although things start off nice, Leslie’s character Bea disappears one night and when she returns she isn’t the same. The film, which works so well because of its two lead performances, is a terrifying feature that makes you wonder if you ever really know the person you promise to spend the rest of your life with.

A girl walks home alone at night (2014)

Director: Ana Lily Amirpour
Stars: Sheila Vand, Arash Arandi

One of the most innovative films from the past year was Ana Lily Amirpour’s A Girl Walks Home Alone At Night, an Iranian vampire western noir. It’s difficult to pinpoint exactly what type of film A Girl is (it plays with so many genres), but its horror sensibilities are undeniable. The film follows Arash, a kind and ambitious James Dean look-alike who lives in the barren Bad City. He’s impoverished and his father is a heroin addict. Amirpour introduces the viewer to other members of the city: a creepy tattooed drug dealer, a young and too-curious boy, and an older, tired sex worker. Most importantly we are introduced to Girl, a young vampire who roams the streets of Bad City drinking the blood of the town’s more despicable characters. It’s really a story about Girl and Arash, and it probably would be more accurate to call A Girl Walks Home Alone At Night a horror romance than anything else. Still, with its sparse dialogue and moody backdrop, it’s a pretty spooky film.

dark skies (2013)

Director: Scott Stewart
Stars: Keri Russell, Josh Hamilton, J.K. Simmons

Before she landed a lead role in FX’s acclaimed The Americans, Keri Russell appeared in Dark Skies, a pretty freaky horror movie about weird things that start to happen to a regular family. The film follows the Barretts, a family of four that start to experience strange things inside and outside their home. It starts with break-ins, but soon birds are flying into their windows, the kids are waking up with bruises and brandings on their bodies, and, in a spectacularly creepy scene, Russell’s character finds herself in a trance, smashing her head over and over again into a window. It’s not exactly new territory, but Dark Sides manages to work because of its strong performances and truly bizarre scenes.

cropsey (2009)

Director: Barbara Brancaccio, Joshua Zeman
Stars: Barbara Brancaccio, Joshua Zeman, Bill Ellis

The documentary section of Netflix isn’t where you normally look for a good horror flick, but Cropsey might get you to change your mind. Two filmmakers who grew up on Staten Island investigate the real-life abductions and murders behind the urban legend they grew up with.

As kids, Brancaccio and Zeman grew up hearing the tale of Cropsey, an escaped mental patient that abducted and murdered children. Sometimes he had a hook, other times he used an ax. If he found a child who had wandered too far into the woods after dark, he would kill them. The documentarians assumed that it was just an urban legend, until children began getting abducted one after another, their bodies found in the woods.

The decrepit abandoned mental asylums and spooky forests of Staten Island give Cropsey a scarier setting than most fictional horror films. Interviews with retired cops and TV news personalities combined with real footage of the search for abducted children won’t let you forget that Cropsey is more than just an urban legend.

the shining (1980)

Director: Stanley Kubrick
Stars: Jack Nicholson, Shelley Duvall

While it received mixed reviews when it opened up back in 1980, The Shining—like all of Kubrick's film, really—is now a classic horror flick, and probably one of the most referenced in day to day language. The film follows the Torrance family, who arrive at the reclusive Overlook Hotel after Jack (Jack Nicholson) gets a job as a winter caretaker. He's planning on using the time to write, and brings along his wife (Shelley Duvall) and his son (Danny Lloyd), who has an imaginary friend and had a weird premonition about the spooky hotel.

Without giving away too much, which really shouldn't be a problem considering how well-known the film is, things start to get strange, and then even stranger. Jack gets violent, Danny hallucinates, and the whole movie becomes a particularly frightening tale of domestic abuse, cabin fever (we're trapped in this snowed-in hotel for way too long), and paranoia.

the exorcist (1973)

Director: William Friedkin
Stars: Ellen Burstyn, Linda Blair, Max Von Sydow

The first-ever horror film to be nominated for an Oscar—ten actually—was William Friedkin's The Exorcist, a film, like so many of the time (Rosemary's Baby and The Omen) that explored the idea of the "demon child." The film explores the lives of Chris MacNeil (Ellen Burstyn), an actress, and her daughter Regan (Linda Blair) who have moved to Washington D.C. after Chris lands a film role. After playing with a Ouija board and contacting a spirit, Regan starts to exhibit really strange behavior. Normally a quiet, friendly girl, she begins cursing, thrashing, and causing mayhem. There's nothing medically wrong with her, Chris soon learns, and eventually an exorcism seems like the only solution.

While scary (and often funny), The Exorcist is also an incredibly intelligent film, one that takes a hard look at our conception of the family unit, religion, and childhood in general. It's really a horror classic, canonical if you consider all of the exorcism movies that have come about since it was released.

v/h/s/2 (2013)

Directors: Simon Barrett, Adam Wingard, Eduardo Sánchez, Gregg Hale, Timo Tjahjanto and Gareth Huw Evans, Jason Eisener

While the V/H/S entry was only mildly successful (critics complained that the shorts were uninteresting and that the whole product was a bit long), V/H/S/2 took on the first film's awesome idea and took it to a new, scarier level. The idea behind V/H/S/2 is pretty simple: get a bunch of talented indie directors—all horror buffs—collect some found footage, and create an anthology film with a couple of really spooky shorts. That's it. Simple and effective.

It could take too much time to go into the plots of each of the little films, but each contains some classic, horrifying horror elements. There's zombies, ghosts, a ton of gore (a man cuts out his own eye with a straight razor, aliens, and cult behavior. In that sense, V/H/S/2 really has a little bit of something to offer to everybody.

contracted (2013)

Director: Eric England
Stars: Najarra Townsend, Caroline Williams

Contracted is a tricky movie. First and foremost, it was advertised poorly, and critics criticized it for marketing a rape that occurred in an early scene as a "one night stand." Still, it has all right elements of a horror film, particularly in the way that it uses the genre to speak about serious moral issues.

Samantha, a young woman devastated after being broken up with by her girlfriend, heads to a party where her friends offer a ton of alcohol and drugs. She is then raped by BJ, a disgusting man who has had sex with a toxic corpse. In many ways, Samantha has become infected, and what seems to be just an STD morphs into something more sinister. While Contracted certainly has the opportunity to inspect the trauma that occurs when someone is raped, it never fully commits to this. Still, it does have some smart ideas and, at least on a surface level, is a pretty horrifying and disturbing film.

wes craven's new nightmare (1994)

Director: Wes Craven
Stars: Heather Langenkamp, Robert Englund

It's been almost a year since Wes Craven passed away, but Netflix, fortunately, has no intention on letting his legacy die. Great evidence of this is Wes Craven's New Nightmare, a metafilm that's sort of part of the Nightmare franchise, but still very much its own entity.

The film follows Heather Langenkamp (the actress from the original film) who has become pretty popular for her role. Things seem good for her and her family, her husband Chase and son Dylan, but, this doesn't last when they are soon haunted by Freddy Kruger, the iconic serial killer who kills people in their dreams, which causes them to die in real life as well. All of Craven's films are horrifying and fun, but what makes New Nightmare so wonderful is its self-awareness, its ability to take a close look at the genre and at the filmmaker's own work. As a result, what could have been another standard addition to the series, ended up being much more.

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