Here are Cinephile Corner’s 10 recommendations for horror movies like Scream:
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.
Thanksgiving
Eli Roth, a significant figure in gnarly genre filmmaking, takes a stab at the holiday horror subgenre with Thanksgiving, a movie that successfully balances gore, satire, and a twisted sense of humor. Roth, known for his unapologetically brutal style, delivers a horror-thriller that not only embraces the conventions of the genre but also winks at them, creating an entertaining if not entirely groundbreaking Thanksgiving slasher.
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.
Heart Eyes
Heart Eyes delivers a clever and blood-soaked twist on the slasher genre, taking a cue from classics like Scream while putting a Valentine’s Day spin on the formula. Directed with a knowing wink and just enough bite, this seasonal horror-thriller finds a solid rhythm early on—thanks in large part to its lead duo—and mostly rides that momentum until the final act falters under the weight of an undercooked reveal.
MaXXXine
MaXXXine has a handful of worthwhile moments, but the movie ultimately ricochets between two different sides of Ti West’s mind: the throwback B-movie auteur with a great taste for kills and the heady screenwriter with something to say about the industry he works in. It’s unfortunate that MaXXXine doesn’t strike that balance often, and it’s easy to tell when he’s switching from one gear to the next. Mia Goth reprises her scream queen role as the titular film star.
The Blackening
Tim Story‘s The Blackening is a movie that doesn’t hold back any punches, offering biting commentary on pop culture and the experience of being black. The film lacks in some technical departments, but it’s still a supremely funny effort.
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.
Bodies Bodies Bodies
Stylistically and visually, Bodies Bodies Bodies is a real treat. The scenes are lush and vibrant, and the color design for this film is excellent. As all A24 horror projects go, this film finds its pocket early on and sticks to it. Even with a narrative that can feel generic at this point, Bodies Bodies Bodies excels at amplifying and hyper-intensifying the world around its main plotline.
Get Out
Jordan Peele’s directorial debut was an instant cultural and cinematic phenomenon—one of those rare films that completely redefines its genre while achieving both critical and commercial success. It was a movie that not only announced Peele as one of the most exciting new filmmakers of the decade but also proved that horror could be both socially charged and immensely entertaining. While Us confirmed that Get Out was no fluke, and Nope showcased Peele’s ability to handle blockbuster-scale storytelling, it all started with this razor-sharp psychological thriller that remains just as effective years later.
Y2K
The best way to approach Y2K is to go in completely blind. Seriously, avoid trailers and marketing if you can. The film’s absurd twists and genuinely hilarious moments are what make it so enjoyable, and knowing too much beforehand could spoil the fun. Kyle Mooney makes his directorial debut here, and he nails it. Throughout the brisk 91-minute runtime, he keeps the pace sharp and entertaining. The movie is often exhilarating, always self-deprecating, and has just enough 1999 nostalgia to hit the right notes without feeling overdone or cheesy.
