Here are Cinephile Corner’s 10 recommendations for horror movies like Bone Lake:
Sick
Sick is the latest action/horror picture from director John Hyams. It’s his follow-up to the 2020 film Alone and feels like a natural successor for the filmmaker. In both movies, protagonists are quickly pushed into a battle to save their own lives from relentless attackers that feel just shy from being the boogeyman reincarnated. While Alone takes place mostly in the outdoors wilderness, Sick opts for a luxurious remote cabin secluded from neighbors and the outside world.
Dangerous Animals
Dangerous Animals is an effective piece of genre filmmaking that doesn’t overreach and knows exactly what it wants to be. It’s scary, sharply made, and full of small, clever choices that elevate it above its straightforward premise. It’s the kind of late-night horror flick that benefits from a pitch-black room and a strong stomach, and one that knows how to get under your skin without overstaying its welcome.
Scream 6
Despite a nearly complete turnover of legacy characters, the Scream franchise keeps on rolling – and it may be as good as any since the original hit theaters in 1996. Scream 6 gets bolder and better, and the movie builds on the best aspects of Radio Silence’s last installment of the franchise.
Hell of a Summer
On the surface, Hell of a Summer doesn’t have many glaring flaws. It’s an obvious love letter to classic slasher films like Friday the 13th, Scream, and Sleepaway Camp. Billy Bryk and Finn Wolfhard make their directorial debut here, and while their enthusiasm for the genre is clear, the film struggles to carve out its own identity. Instead of reinventing familiar tropes, it largely retraces well-worn ground, and that familiarity ultimately works against it.
Final Destination Bloodlines
Final Destination Bloodlines is the rare horror legacy sequel that understands exactly what it is—and more importantly, what its fans want. Directed by Zach Lipovsky and Adam B. Stein, this blood-soaked revival of the Final Destination franchise doesn’t reinvent the wheel, but it absolutely fine-tunes it, delivering gory set pieces, a slickly paced plot, and just enough lore expansion to make it feel like more than a rehash. It’s self-aware without being snarky, brutal without being mean-spirited, and surprisingly clever in how it weaves its mythology into something new.
Opus
Opus builds its tension gradually, but it never fully commits to the weirdness that would make its well-worn premise pop. While the setup is compelling—one part industry satire, one part psychological horror—the movie hedges its bets on the bizarre, keeping the truly disturbing revelations bottled up until the final act. Despite its name, Opus never quite becomes the grand statement it wants to be.
In a Violent Nature
In a Violent Nature didn’t blow me away, but it’s creative enough to have me intrigued with where Chris Nash will set his sights next. The movie is made specifically for the hardcore sickos out there that love to see how far a creative can go to make an audience feel queasy.
Your Monster
While there’s a long cinematic history of lonely women falling for misunderstood creatures—Guillermo del Toro’s The Shape of Water being the gold standard this century—Your Monster does little to innovate or justify its existence. Unlike del Toro’s fully realized world and emotionally resonant storytelling, this film just sort of happens, without much impact. It’s a quirky, oddball experiment that ultimately feels disposable, fading from memory as quickly as it arrives.
Last Night in Soho
Few directors are as defined by their style as Edgar Wright, and Last Night in Soho is a movie that thrives when it fully embraces that signature flair. From its bold lighting choices and meticulously curated soundtrack to the seamless fusion of past and present, this film is an exercise in aesthetic precision. Starring Thomasin McKenzie and Anya Taylor-Joy, it’s a visually dazzling, nostalgia-drenched psychological thriller that starts strong but ultimately falters in its final act.
It’s What’s Inside
To its credit, It’s What’s Inside makes a few choices to make itself memorable. The premise is inarguably fascinating, and the consequences of the central plot engine are enticing at times. But It’s What’s Inside becomes frustratingly convoluted, compounded by a set of characters that I simply could not care less about.