Here are Cinephile Corner’s 10 recommendations for movies like The Woman in Cabin 10:
Glass Onion: A Knives Out Mystery
Although it’s still setting the pace in terms of quality that other murder mysteries strive for, Netflix’s latest Knives Out installment, Glass Onion, feels like a rehashing of every character arch and narrative beat that the original did so much better.
Blood Simple
Nearly every time I revisit Blood Simple, I’m struck by how confident and precise Joel and Ethan Coen were right out of the gate. Released in 1984, Blood Simple is the Coen brothers’ debut film and still stands as one of the greatest first features ever made. A neo-noir steeped in paranoia, betrayal, and bloody miscommunication, it’s a film that knows exactly what it wants to be—lean, stylish, and razor-sharp.
Zodiac
David Fincher’s Zodiac remains an undeniable classic since its 2007 release, standing as a pivotal moment in the director’s historic career. In this crime drama, Fincher navigates the web of the Zodiac killer’s decade-spanning reign of terror, creating an atmospheric and compelling story that has only grown in cultural significance and critical acclaim over the years.
Don’t Worry Darling
While it’s easy to point fingers and blame the film’s issues on just a few individuals, Don’t Worry Darling, at its core, is flawed. A meandering story can’t be saved by Florence Pugh and Harry Styles.
A Haunting in Venice
A Haunting in Venice fails to break free from the constraints of mediocrity that have dogged the Christie franchise. Kenneth Branagh‘s film, like his prior entries in the series, struggles to deliver the tension and intrigue that should be inherent in the genre.
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.
Babygirl
25 years after co-starring in Eyes Wide Shut, Nicole Kidman revisits similar thematic territory in Halina Reijn’s Babygirl, another holiday-set exploration of lust, power, and dissatisfaction. In Babygirl, she plays Romy, a high-powered tech CEO whose meticulously crafted life seems perfect on the surface. With a doting husband, Jacob (Antonio Banderas), two well-adjusted children, and a dreamlike home, Romy appears to have it all. Yet, beneath this pristine façade, she is deeply unfulfilled, yearning for something—or someone—to awaken her buried fantasies.
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.
Longlegs
Longlegs makes good on the promise of being a freaky horror tale that injects dread in every frame and through every nook and cranny possible. Director Oz Perkins, if for nothing else, continues to prove himself as a singular horror director, with a style that no soul could replicate and a thirst for the absurd, demented, and disturbed. Maika Monroe and Blair Underwood offer enough to have you engaged, and Perkins is talented enough behind the camera to keep things rolling.
Mothers’ Instinct
Mothers’ Instinct is a movie that aims high with its premise and powerhouse lead performances but ultimately collapses under the weight of its messy script and tonal inconsistency. Jessica Chastain and Anne Hathaway do their best to inject life into their roles, delivering performances that are often the only salvageable element in a film that can’t decide what it wants to be. Despite their efforts, the film’s narrative twists and genre shifts leave it feeling disjointed, hollow, and increasingly absurd as it progresses.
