Here are Cinephile Corner’s 10 recommendations for horror movies like Sleepwalker:
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.
The Woman in the Yard
In a time when many horror films try to be either thinkpieces or thrill rides and fail to be either, The Woman in the Yard hits a rare sweet spot. It’s a horror film that’s genuinely tense, emotionally grounded, and smartly contained. It may not be a game-changer, but it’s a solid, satisfying entry in the modern horror canon—and a reminder that even filmmakers with inconsistent track records like Jaume Collet-Serra can deliver when the right material lands in the right hands.
Night Swim
With a PG-13 rating, and a concept so thinly developed beyond “scary swimming pool,” Night Swim relies heavily on cheap scares and creepy underwater sight gags – where few of which actually earn their keep. Wyatt Russell and Kerry Condon star in a sometimes silly, often underdeveloped horror movie.
We Bury the Dead
Daisy Ridley has quietly turned her post Star Wars years into one of the more interesting genre pivot runs in recent memory. Even when the movies are uneven, like The Marsh King’s Daughter, the choices are rarely boring, and when they click, like Sometimes I Think About Dying, you can see her stretching in real time. That streak continues with Zak Hilditch’s We Bury the Dead, a January release that arrives with all the baggage of the calendar’s reputation and still manages to offer more craft and atmosphere than you typically get in that slot.
Bring Her Back
Bring Her Back may satisfy diehard fans of A24-style horror or those looking for a few jarring images, but for most viewers, it will likely feel like an echo of better films. This is the kind of horror that thinks it’s elevated but forgets to be compelling. For the Philippous, it’s a clear step back—stylistic confidence without a story worth telling.
Handling the Undead
Handling the Undead is Thea Hvistendahl’s debut directorial feature, and while there are aspects of the movie that are fascinating (and even quite profound), the story is drawn out for far too long. The emotional bite is there in doses, but there’s a general feeling of malaise that washes over you and drowns you out.
Presence
Presence is another fascinating experiment from Steven Soderbergh, a filmmaker who has spent the last decade pushing his own creative boundaries. With films like Kimi and Magic Mike’s Last Dance, he’s proven he can reinvent genres with an auteur’s touch, and Presence continues that trend—this time through a unique first-person POV horror/thriller. While the movie doesn’t entirely stick the landing, its technical craftsmanship and conceptual ambition make it an intriguing entry in Soderbergh’s ever-evolving filmography.
Heretic
Scott Beck and Bryan Woods have steadily built themselves a career since their breakthrough writing credit for A Quiet Place nearly a decade ago. The duo has parlayed their success into multiple directorial efforts, including the pulse-pounding Haunt and the sci-fi thriller 65. Now, they return to their horror roots with Heretic, a chilling and twist-laden movie about two young religious missionaries who knock on the wrong door on a cold, snowy night.
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.
Hold Your Breath
Hold Your Breath has a premise that is fit for a 20 minute short film, not a full length feature. It has a rather easy one sentence elevator pitch to sell you on its terror. A mother of two believes a sinister presence that takes the form of “The Grey Man” is closing in on her home during the Dust Bowl in 1930s Oklahoma. Directors Will Joines and Karrie Crouse use this place and time period to tell a story of guilt and grief set to the backdrop of a historical event shutting people indoors and with their own thoughts.
READ MORE: Sleepwalker (2026), Horror Movies Like Keeper, Horror Movies Like Primate
