Here are Cinephile Corner’s 10 recommendations for horror movies like V/H/S/Halloween:
Evil Dead Rise
There aren’t many horror franchises able to reinvent themselves as often as Evil Dead does while still maintaining relevancy and quality. Maybe it’s because Sam Raimi holds his creation so close to his heart that only a select few are able to take on the premise, or maybe it’s because the premise seems simple and malleable enough to make nearly anything work. It can shoot for the downright zany and ludicrous with Evil Dead II or Army of Darkness, or it can strive to be like Lee Cronin’s newest spin Evil Dead Rise – a movie so sick and twisted that you can’t help but give it its dues by the time the credits roll.
Talk to Me
Talk to Me is the latest elevated horror movie from A24, a studio that’s completely redefined and reimagined the state of the genre, introducing new ideas and themes into it over the past decade. Talk to Me attempts to do the same, pitting trauma and coping mechanisms with demonic forces to a scary degree.
The Monkey
The Monkey is a middling but watchable entry in the 2025 horror slate. It doesn’t reach the high bar set by of Oz Perkin’s best films, nor does it fully honor the emotional undercurrents of King’s original story, but it’s never boring. If nothing else, it reaffirms Oz Perkins as a horror director worth watching—even when the material doesn’t quite land.
V/H/S/85
V/H/S/85 offers some of the most deranged moments in the franchise’s recent history, but occasionally loses steam as a product of half-baked concepts. David Bruckner and Mike P. Nelson stand out as the directors that utilize the form the best.
Cobweb
Cobweb might be accused of adhering to some familiar horror tropes, but its commitment to its genre roots is what makes it stand out. The movie surpasses expectations with its tight narrative, commendable performances, and a commitment to delivering unadulterated horror.
Hereditary
Hereditary is the rare debut that instantly reshapes a genre. Ari Aster’s 2018 feature moves with an icy confidence, turning domestic grief into occult nightmare, and it still feels like a defining horror film of the century. Backed by A24, the film has the precision and patience of a masterwork: long takes that corner you in the frame, sound design that hums with unease, and edits that withhold just enough to make every cut feel like a trapdoor.
V/H/S/Beyond
V/H/S/Beyond is the seventh installment of the cult classic horror anthology franchise V/H/S. After six, you’d think a series would begin to lose steam or run out of ideas, but this one has done the opposite. Since Shudder rebooted the franchise in 2021 with V/H/S/94, the popularity for it has grown more and more. Now, they feel like tentpole releases on the horror streamer’s October slate.
Ash
As a filmmaker, Flying Lotus continues to show potential, particularly in his ability to craft unsettling, otherworldly imagery and pair it with haunting sound design. But Ash feels like a proof of concept more than a fully realized vision—a solid step up in production value, but not in storytelling or emotional impact. Eiza González and Aaron Paul star as two stranded astronauts on a distant planet.
Death of a Unicorn
Death of a Unicorn is the kind of misfire that feels like it started with a compelling pitch but never found its footing in script or tone. It has the potential to be a midnight movie curiosity for some, but for most, it’s likely to be a forgettable experiment. This is one A24 project that stumbles far from the high standards the studio has set for itself—and feels far closer to Tusk or Heretic than to The Lighthouse or Uncut Gems. A few moments of bizarre creativity can’t rescue it from its fundamental problems.
Cuckoo
Sometimes, a good ole freak-out film that doesn’t make much sense is exactly what you need. Fortunately, Tilman Singer is responsible for two of them now. 2020’s Luz was an underappreciated shock to the horror system that signaled Singer as an auteur to look out for moving forward, and 2024’s Cuckoo only further cements him as one of the genre’s bravest image makers, even as he’s working out the kinks in his storytelling repertoire.