Here are Cinephile Corner’s 10 recommendations for movies like Don’t Worry Darling:
Blink Twice
Blink Twice wears its influences on its sleeve, but for a directorial debut like this for Zoë Kravitz, I thought it was pretty commendable. The industry is begging for a few more genre filmmakers capable of projects that are equally fun and thought-provoking, and Kravitz is able to switch between one and another on a dime. The performances help elevate the material, too, which inevitably pushes Blink Twice over the finish line.
Leave the World Behind
Sam Esmail, renowned for his work on Mr. Robot, returns to feature filmmaking with Leave the World Behind, a star-studded drama delivered straight to Netflix that operates as an apocalyptic mystery thriller. Boasting a cast of A-listers like Julia Roberts, Ethan Hawke, Mahershala Ali, and the promising up-and-comer Myha’la, the film carries the weight of its cast’s reputation but, unfortunately, doesn’t quite live up to expectations.
Old
It’s been a few years since M. Night Shyamalan‘s Old hit movie theaters and it still feels as fresh as that day. Shyamalan’s old school mixture of poignant commentary and rich thrills combine into his best film since 2002, and one that stays immensely rewatchable.
Speak No Evil
While I appreciate many of James Watkins’ directorial choices and the strong performances from James McAvoy, Aisling Franciosi, Scoot McNairy, and Mackenzie Davis—who all have great chemistry—I can’t shake the feeling that Speak No Evil missed an opportunity. It could have delivered a real shock to the studio horror system but instead falls into the same familiar patterns. The film ends up being a watered-down, more subdued version of the original, which felt fresh and unsettling just a few years ago. It’s not a complete failure, but it misses the mark.
Companion
I went into Companion completely blind, and that’s the best way to experience it. Drew Hancock’s directorial debut thrives on twists, constantly reinventing itself in ways that keep the audience on edge. The film shares DNA with Barbarian, which makes sense given that Barbarian director Zach Cregger serves as a producer here. Both films pull the rug out from under viewers, placing their protagonists in escalating danger with seemingly no way out. But as was the case with Barbarian, discussing Companion without spoilers is nearly impossible—so consider this your warning.
Enemy
Enemy‘s true power lies in its ambiguity. Unlike conventional narratives that spoon-feed answers, Denis Villeneuve invites the audience to actively participate in unraveling the movie’s enigmatic plotlines. The recurring spider motif becomes a potent symbol, open to individual interpretation. Is it a harbinger of danger, a manifestation of repressed desires, or simply a narrative thread to guide us through the inner turmoil of Adam (Jake Gyllenhaal)? The beauty lies in the absence of definitive answers for Enemy, where Denis allows you to form your own conclusions.
Us
Jordan Peele’s Us was somewhat divisive when it hit theaters in 2019, but it has only grown in my estimation since. Not only did it prove that Get Out was no fluke, but it cemented Peele as a filmmaker with a knack for taking familiar horror tropes and twisting them into something fresh and conceptually bold. It’s a film that balances genre thrills with introspection, making for an experience that is as thought-provoking as it is unsettling.
Strange Darling
Strange Darling wears its influences on its sleeve. Director JT Mollner isn’t ashamed to let his inspirations be known as his latest thriller delivers twists and turns around every corner, and is told in a nonlinear fashion that makes it really hard not to think of a few classics. The likes of James Wan and Quentin Tarantino come to mind for these reasons, but Mollner’s Strange Darling doesn’t feel nearly as fresh as Saw or Pulp Fiction felt decades ago.
Holland
Holland feels like a half-baked thriller with a solid premise but a lackluster execution. Mimi Cave’s Fresh had a bold, distinctive style, whereas Holland feels like a retread of better films with similar narratives. Nicole Kidman stars alongside Matthew Macfadyen and Gael García Bernal.
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.
READ MORE: Don’t Worry Darling (2022)
