Five Horror Movies to Watch Now

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Each month, we recommend the five latest horror movies to watch. Find more genre recommendations and other ways to navigate streaming services What to Watch?


Publish to Shudder.

Teddy is a strange man in his 20s who lives at home in rural France with his sick mother and curious uncle. He works in a massage parlor and in his spare time he buys mushrooms and has sex with his girlfriend.

One night he goes into the forest to try to kill a wolf that is shearing sheep; In the melee he is revealed with puncture wounds. Soon after, his tongue and one eye begin to feather, and the moon lures him into a field to eat the sheep. Sensing that something is wrong, Teddy searches the internet for the phrase “comment soigné loup garou”: how to cure a werewolf. But with this bite, his fate was sealed.

Directed by brothers Ludovic and Zoran Boukherma, “Teddy” is a seamless blend of dark realism and absurd fantasy, 21st century “I Was a Young Werewolf.” Boukhermas explores a young man’s struggle to be different, using simple framing and a tense tempo to keep his films on the pulse of tension. Anthony Bajon is loved as the title’s sudden lycanthrope.

The movie is delayed until the end to show Teddy the werewolf, but he does it from a distance, a restrained and cunning choice that becomes the film’s most memorable visual package.

Stream on HBO Max.

There was a shortage of new queer horror movies for Pride Month, so getting this ancient horror-comedy makeover was a treat.

Millie (Kathryn Newton) is an outcast at Blissfield Valley High. As if that wasn’t hard enough, one night Blissfield is stabbed with a legendary dagger by a teen-hating serial killer named Butcher (Vince Vaughn). Attack triggers a supernatural body swap: Butcher becomes a brash Millie, and Millie reinvents herself as a cold-blooded Butcher.

Directed by Christopher Landon (“Happy Death Day”), “Freaky” is a fun throwback that feels original even though borrowed from classic slashers (“Friday the 13th”), body swapping comedies (“Freaky Friday”) and 90s . meta-horror (“The Scream”). It starts with gushing blood but ends with a surprising amount of heart.

Written by Landon and Michael Kennedy, the screenplay features a fun gay streak, including Millie’s friendship with Josh (Misha Osherovich), a proud femme queen, and a delightfully awkward scene where Millie crushes Booker (Uriah Shelton). takes off With the butcher.

Publish to Shudder.

Writer-director-editor Andrew Merrill makes a chilling debut with this standalone takeover. The story is about Madison (Kris Alexandria) and Jesse (Johnny Kostrey), a couple whose rocky relationships are tested while making time for their tough job as a teacher’s assistant, and a couple who regularly languish in an assisted living facility.

Things take a dangerous turn when one of the residents forcefully plantes a big kiss on Jesse and infects him with an evil, body spasm-inducing presence of unexplained origin. Shaken by pain, Jesse attacks Madison and her friends, who think Madison is dealing with nothing but mild anger. But as Jesse’s body is home to an increasingly monstrous presence, his actions take a deadly turn.

Many things in “Rot” that might surprise some viewers remain a mystery. But in those unknowns – What is this power? How is it spread? Who’s in the hallway? – that the movie got a low-fi driver. Merrill wraps things up with a low-budget, gross, high-concept creature-featured scene that’s one of the weirdest and creepiest endings I’ve seen all year.

Publish to Shudder.

Inside an abandoned building in a Paris suburb, graffiti artists Amélie (Mathilde Lamusse), Bintou (Suzy Bemba) and Morjana (Samarcande Saadi) discover the words “Aicha Kandisha” scribbled on the walls. Morjana explains that Kandisha is a figure from Moroccan folklore – “the ghost of a beautiful woman who destroys men” – who can be summoned for full revenge.

Later that night, Amélie’s ex-boyfriend violently attacks her on a dark road. When he comes home, he draws a pentagram from his own blood and calls Kandisha by name. His ex gets hit by a car and dies. Other mysterious deaths follow. With the help of an exorcist imam, Amélie learns that stopping Kandisha’s killing spree has come at her own deadly price.

“Kandisha” is the latest film from Alexandre Bustillo and Julien Maury, whose 2007 debut film “Inside” is a facet of the creepy genre known as Scary Horror. New French Extremity. Here they soften the bloodshed with a story that explores feminism and post-colonialism with a supernatural spin. The movie is scary, even though it sometimes strays into monster territory against devious teens.

The directors haven’t abandoned their extreme roots: There’s rabbit slaughter and hoof death that look very realistic.

Stream on Netflix.

Virginie (Suliane Brahim), a single mother raising her son and daughter, tries to make a living by raising grasshoppers to sell as high-protein food sources at her home in a small town in France. But the creatures don’t reproduce, and that hurts the business. Also, her teenage daughter, Laura (Marie Narbonne), is angry when the kids at school call her mom “mama chirping”.

One day, enraged by her misfortunes, Virginie falls into a grasshopper hatchery and faints. When he wakes up, he discovers that locusts have eaten at his wound. That’s when the bugs start multiplying and it adds two and two. Desperate to save his job and prevent his family from exploding, he regularly allows the locusts to use his arm as a feeding ground. But bugs are not enough.

Not to be confused with the 1978 movie killer bee. “Herd,” Just Philippot’s feature-length directorial debut is a chilling hungry-bug movie that fuels fears towards the end, when a real pack begins to threaten Virginie and her family. But it’s also a very bland, slow-moving drama about how far a mother will go for her children. As “Babadook” with errors.

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