Here are Cinephile Corner’s 10 recommendations for horror movies like Resident Evil:
Backrooms
Kane Parsons’ deliriously scary YouTube creepypasta series The Backrooms has been adapted to the big screen, and he is not the first to graduate from YouTube filmmaking and short-form horror to feature auteur in the last few years. Zach Cregger and Curry Barker have similar trajectories off the success of Barbarian/Weapons and Obsession, respectively. But Parsons makes a direct adaptation of his own highly successful and notorious Backrooms project here, becoming A24’s youngest feature director in the process.
The Blackcoat’s Daughter
A sinister, slow-burning delight, The Blackcoat’s Daughter solidifies Oz Perkins as a director capable of true psychological horror—one who, despite some missteps in recent efforts, continues to intrigue me.
Passenger
There’s enough in Passenger to recommend to horror fans. The central premise is clever, the performances are strong, and André Øvredal demonstrates a real understanding of how to stage individual scares. But it arrives at a moment where other filmmakers are swinging bigger.
Barbarian
Zach Cregger‘s Barbarian is still refreshing and thrilling, and it’s easily one of my favorite theater experiences of 2022. Films try over and over again to use the schlocky marketing bit of audiences screaming in theaters only to be disappointing in actual terror when places in front of you – but Barbarian is genuinely jaw-dropping.
undertone
A24 knew exactly what they were doing when they marketed undertone. Although it may not end up being the scariest movie you’ll see in 2026, it’s certainly in the running for the scariest you’ll hear. The trailers leaned heavily into the film’s unsettling sound design, and for good reason. That’s the entire hook. A pretty simple premise executed with confidence has become A24‘s bread and butter over the last decade, and while undertone won’t be joining the studio’s horror hall of fame anytime soon, it’s another reminder that modest ambitions carried out well can still make for an effective night at the movies.
Obsession
Curry Barker – YouTube creator turned filmmaker – has emphasized that Obsession is partly inspired by a Simpsons episode where Bart gets his hands on a monkey’s paw. Which tracks, because the film is about exactly that and essentially just that: what happens when you get one wish and that wish goes so, so horribly wrong. It’s contained at such a small, intimate scale, like a messed up Twilight Zone episode that escalates in tension and stays committed to its absurdity without overbaking any of its characters or themes.
They Will Kill You
There’s a version of They Will Kill You that I would’ve liked quite a bit more than the one we ultimately got. For about the first forty-five minutes, director Kirill Sokolov wears his influences so openly that it becomes part of the fun. The film is drenched in Tarantino worship, from the geysers of blood and elaborate swordplay to moments that feel lifted straight from the filmmaker’s particular brand of exploitation excess (there may or may not be a shot of a demon licking the toes of a certain heroine). If you like Kill Bill, it’s hard not to have at least a little fun watching Sokolov channel that same chaotic energy, even if he never quite makes it his own.
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.
Weapons
Weapons opens with one of the most chilling hooks you’ll hear in any movie this year: at exactly 2:17 a.m., every child from Mrs. Gandy’s class woke up, walked downstairs, opened the front door, stepped into the dark… and never came back. It’s the kind of premise that immediately grabs you, the kind of logline that sells itself in a trailer and sticks in your head for days. Writer-director Zach Cregger, who burst onto the horror scene with 2022’s Barbarian, proves once again that he knows how to start a story with an irresistible, terrifying question.
Keeper
Keeper finds Oz Perkins splitting the difference between the chilly occult dread of Longlegs and the goofy pulp of his Stephen King riff The Monkey. The result is a winking slow burn that slips, scene by scene, into gawky madness. It is more confident than The Monkey, less severe than Longlegs, and most alive when it trusts atmosphere over exposition.
READ MORE: Movies Like Passenger, Movies Like It Ends
