23 Best Movies on Shudder Right Now (July 2026): ‘Exit 8’ and More

Have you ever gotten lost in a subway station? It can be difficult to find your way out. For the Lost Man (Kazunari Ninomiya), it’s nearly impossible. One subway corridor looks like another, with the same monochromatic color scheme. Is he going insane? Or is he stuck in an existential game in which he has to follow very strict rules to escape?

The answer to both questions might be “yes.” Based on the sleeper hit video game, Exit 8 is a liminal horror movie similar to Kane Parsons‘ sleeper hit, Backrooms. The film creates an unsettling atmosphere of dread with its squeaky-clean subway station, which is devoid of any people – until it’s not. Exit 8 is a slow-burn horror flick that rewards your patience with a story that is simultaneously gripping and terrifying.

Margot (Barbie Ferreira) has a thankless job – she has to view hundreds of videos that have been uploaded on a social media app called Kino to see if they contain any offensive content. When she stumbles upon what looks like a real decapitation, she removes it. But more videos showing all-too-real murders soon surface, and Margot herself eventually finds herself targeted by the person who is uploading them. Are the murders real? Margot hopes they aren’t because if they really show faces of death, she might be the star of the next one. 

If Faces of Death sounds familiar, that’s because it’s a reimagining of the cult 1978 horror film of the same name. This version actually has a story, though, and it’s a good one – a razor-sharp satire on how social media has desensitized our culture. It’s also a very creepy horror film, with an unsettling Dacre Montgomery as a killer more concerned with clicks than emotions. 

Saga (Seidi Haarla) and her husband, Jon (Rupert Grint), move to an isolated house deep in the Finnish woods to start a family. They eventually get their wish – Saga gives birth to a healthy baby boy. But Saga quickly suspects that something is not quite right with her child. Is it all in her head, or has Saga given birth to a literal monster?

Nightborn is a folk horror take on Rosemary’s Baby, preying on the same fears that all expectant parents fear – what if their child isn’t quite right? For Saga and Jon, those fears are realized with increasingly horrific results. Unlike Roman Polanski’s 1968 classic, Nightborn shows rather than tells, but it’s still an effective horror film that will make you think twice about your child – or becoming a parent.

Pumpkin (Lola Tung) is the new person in town, and all she wants to do is fit in with the cool girl clique at the mall where she works. She succeeds and quickly grows close to Apple (Lili Reinhart), Cherry (Victoria Pedretti) and Fig (Alexandra Shipp), even though they are a little mean to her and everyone around them. But when a disheveled young woman approaches Pumpkin and warns her to stay away from them, she begins to suspect her new friends are hiding a dark secret – one that could kill her if she finds out about it.

Those waiting for a reboot to the 1996 cult classic The Craft won’t have to wait much longer if they watch Forbidden Fruits. I’ll try to avoid spoilers, but the plots are largely the same, except Forbidden Fruits is bloodier and meaner. The film has enough twists and turns to keep you engaged, and the mostly female cast excels in roles that ask them to be cool, be bad and look good while doing both. 

Jeanne (Clara Pacini) has no family to support her and nowhere to go, so it’s no surprise she ends up in a basement in a remote French town in the Alps. What is a surprise is that the basement is located in a movie studio that is hosting a production of Hans Christian Andersen’s classic fable, The Snow Queen. Legendary actress Cristina (Marion Cotillard) plays the title character, and she’s just as icy – and aloof – off the screen as she is on. Jeanne becomes fascinated with her and lies her way into Cristina’s inner circle. But once there, she becomes too close to a woman who is a danger to herself and those around her.

The Ice Tower is a mysterious film about mythmaking and the dangers of ignoring reality. The relationship between the two women is strong yet toxic – they need each other to reinforce the facades they put up to the world. That proves to be dangerous for both, and the film’s cliffhanger – literally! – ending will keep you wondering what it all means even after the credits have rolled. 

Louis (Brad Pitt) has a story to tell, and it’s a horrific one. In a sit-down interview with disbelieving journalist Daniel Malloy (Christian Slater), he recounts his life as a plantation owner in the Deep South, his odd friendship with the destructive Lestat (Tom Cruise) and his love for his foster child, Claudia (Kirsten Dunst). He’s also a vampire, and his morbid curiosity about humans then and now usually outweighs his thirst for their blood – usually.

Now best known as a much-loved AMC series that’s currently in its third season, Anne Rice’s Interview with the Vampire was its own pop culture event when it was first made into a film in 1994. Most people cried foul at Cruise’s casting as the debauched Lestat, but he’s actually pretty good at playing a bloodthirsty fop who has a centuries-long crush on Louis. Directed by Neil Jordan, the film successfully conjures a decadent mood that’s essential to the film’s gothic story. You can practically hear the blood flow and feel the corpses around Louis rot, which is the highest praise a film like this can get.

What happens if you marry The Breakfast Club with Final Destination? You get something like Whistle, a horror film that is as derivative as it is scary. When a group of teens in detention decides to blow an ancient whistle, they soon discover that whoever plays the instrument is killed by an apparition of their future demise. That’s why Mr. Craven (Nick Frost), who first found the instrument, dies at the hands of a spectre crushing his throat. The only way to stop the curse is to transfer it to someone else by marking them with their blood — or something like that.

Whistle has some complicated rules to its sinister death game, and not all of them make a lot of sense. But it’s fun to watch each teen meet their grisly end in highly creative ways, with one unfortunate soul meeting his doom by being shredded to death. Yuck! The talented young cast includes Logan’s Dafne Keen and Heated Rivalry’s Sophie Nélisse.

Whistle starts streaming on May 8.

It’s pencils down and knives out for the embattled teens in the new apocalyptic horror flick, This Is Not a Test. When a zombie outbreak starts taking over her small town, Sloane (Olivia Holt) quickly discovers the only safe haven left is the place she hates the most — her high school. Joined by several friends and teachers, Sloane’s motley crew of survivors does their best to ward off the undead. But when someone among their group is bitten, their sanctuary soon turns into a prison they must escape before it’s too late.

This Is Not a Test isn’t all that original — the zombie genre has been done to death (pun intended), and Netflix’s wonderfully fun All of Us Are Dead has already utilized the undead in a high school setting. Still, the film is all kinds of fun, with an appealing cast led by Cruel Summer star Holt and appropriately gory kills. This Is Not a Test passes with a curve — just don’t expect to be surprised by what it has to offer.

This Is Not a Test starts streaming on May 22.

Bodycam finds a new place for the found footage genre to go by presenting itself as the “real” video that was filmed on one wild night by Officers Bryce Anderson (Sean Rogerson) and Jerome Anthony Jackson (Jaime M. Callica).

While answering a call in Jerome’s old neighborhood, the officers have an encounter with a civilian that goes badly. Rather than attempt to clean up their mess, the two men try to cover it up. But there’s no running from this mistake as the effects veer into the supernatural and begin bleeding into the world around them.

Bodycam is streaming on Shudder.

You may ask yourself, “Why is an American werewolf in London?” And the answer is that he wasn’t a werewolf when he crossed the Atlantic. David Kessler (David Naughton) and his friend, Jack Goodman (Griffin Dunne), were just normal tourists until a werewolf attacked them and left them for dead.

Only David survives the attack, although he sees an apparition of Jack telling him to end his life before he transforms for the first time. David and his new lover, Alex Price (Jenny Agutter), may come to regret not making that choice. Because once David’s inner wolf is unleashed, there’s no putting it back in the bottle.

An American Werewolf in London is now streaming on Shudder.

After spending years in a coma, Diana (Grace Glowicki) can barely recall her past life, including her marriage to Homer (Ben Petrie). Seeking help, they go to a trauma center in the remote wilderness that promises to help Diana regain her memories. But as she recalls more of life before the coma, Diana realizes her picture-perfect marriage isn’t so perfect after all.

Honey Bunch is an engrossing psychological horror flick that blends elements of Eyes Wide Shut and A Cure for Wellness into one unsettling package. The movie takes a tough look at marriage and how selfless love can slowly change into narcissistic obsession over time. The film’s period is hard to pin down — there are no mobile phones, and even the cars seem to be from another era. That just contributes to its otherworldly feel — it’s a horror movie that truly gets under your skin and stays there for a long time.

On Valentine’s Day, 1945, 74-year-old Charles Walton was murdered in the English countryside. No one knows who did it, and the case remains cold. But Walton’s death soon gave rise to whispers of the occult, which grew so loudly that a writer, David Pinner, wrote a book called Ritual based on the case. Ritual was later adapted into the cult classic The Wicker Man, which popularized a new subgenre — the English folk horror film.

The Last Sacrifice looks back at Walton’s case and how it reverberated through popular culture. Using clips from local newscasts as well as folk horror films like The Blood Beast Terror, director Rupert Russell examines how a seemingly routine murder investigation spawned a rural legend that captivated different generations of cops, news reporters and filmmakers. By unearthing its true-crime source, The Last Sacrifice provides another layer of terror to movies that are already scary to begin with.

The ‘80s were the heyday of the summer camp slasher, and the new horror movie Marshmallow fully intends to resurrect the era. In the film, young Morgan (Kue Lawrence) is forced by his parents to attend summer camp, where he doesn’t quite fit in. After hearing a campfire story about a doctor who hunts and caps little children with an electric rod, Morgan thinks he sees the actual doctor roaming around the woods. The adults reassure Morgan he’s imagining things, but Morgan knows what he saw and is intent on finding out the truth — no matter what.

Marshmallow is an evocative horror movie that relies a lot on fog and shadow to generate its scares. It succeeds, but it also tells a surprisingly twisty story that holds more than a few surprises. I won’t reveal what happens, but I will say Marshmallow is more complex than you’d think — and far more sinister than you can imagine.

Shark horror movies are all the rage right now, and the newest entry in this surprising subgenre is Beast of War. Set in 1942, the movie follows Australian soldier Leo (Modern Family‘s Mark Coles Smith) as he joins his regiment on a boat sailing to Europe to fight some Nazis. They’re soon sidetracked by an unexpected enemy — a killer shark with a monstrous appetite. As one by one they fall prey to the deadliest predator in the Pacific Ocean, will there be anyone left alive once their ship reaches its destination?

Short and intense, Beast of War delivers exactly what it promises — brutal and inventive kills by a surprisingly lifelike shark. The movie is refreshingly old-school, with stock characters who might as well have “shark meal” tattooed on their foreheads. Beast of War gives new meaning to the phrase “bloody fun,” which it delivers by the boatful.  

One quiet night in the local morgue, father and son coroners Tommy Tilden (Brian Cox) and Austin (Emile Hirsch) receive the body of a Jane Doe (Olwen Kelly). Found in the basement of a house where a multiple homicide took place, Austin and Tommy begin to experience strange phenomena as they conduct their autopsy. As they dig further into their investigation, they begin to reveal Jane Doe’s true, and terrifying, origins.

Taking place almost entirely in one location, The Autopsy of Jane Doe is a simple but chillingly effective little supernatural horror film, building tension and revealing information in just the right way to elicit genuine fear from its audience. With jump scares that actually scare, a darkly claustrophobic atmosphere and great performances from Cox and Hirsch, The Autopsy of Jane Doe will have you turning on all the lights.

The Peterson family has been grieving the loss of their son, Caleb, who died in action in the war in Afghanistan, when they receive a surprise visit from a stranger who claims to have served alongside him. David Collins (Dan Stevens) is disarmingly gracious and handsome, and he tells them he wants to help them on behalf of his friend. But David’s warm smile shelters something chilling underneath, and when a string of killings besiege the Petersons’ town, their daughter, Anna (Maika Monroe), questions whether David is who he claims to be.

Taking clear inspirational cues from directors like John Carpenter and James Cameron, The Guest blends horror and thrills to create a creepy, mesmerizing and extremely fun character drama, led by a central performance from Stevens that is as unnerving as it is completely hypnotic.

Eight films deep into the V/H/S franchise, and the series is still going strong with its newest addition, subtitled Halloween. Each V/H/S film features a group of short anthology stories ranging from the chillingly supernatural to body horror to total gross-out slasher gore. V/H/S Halloween includes segments about high schoolers who discover (against their will) that they’re too old to trick-or-treat, and a group of young adults who encounter a bowl of cursed fun-size candy.

V/H/S Halloween was praised by critics following its premiere at this year’s Fantastic Fest and regarded by some as one of the series’ best installments. With most of the most entertaining as well as the most disturbing stories in the franchise’s history, the film features a segment directed by indie darling Alex Ross Perry (Pavements). Because each segment offers a different flavor, there’s a little something for everyone in V/H/S Halloween.

Carol Kane stars in this chilling psychological thriller whose first 23 minutes are frequently regarded as one of the scariest film openings in history. Kane stars Jill Johnson, a woman who starts receiving strange phone calls while she is babysitting. Initially thought to be a prank, eventually Jill realizes that she’s in danger, but she doesn’t yet know that the calls are coming from inside the house. The fiend is put away, but escapes years later and stalks another woman — and then he comes back for Jill.

When a Stranger Calls has developed a passionate cult following over the years despite it’s less than favorable reviews from critics. But many were nevertheless riding on the film’s wavelength — in 1980, The New York Times critic Janet Maslin felt it was an “energetic first film.” Thrillingly tense and atmospheric, When a Stranger Calls will make you scared to be in your own home.

In Dangerous Animals, a shark-obsessed serial killer holds a surfer (Hassie Harrison) hostage on his boat, as the madman is intent on using her in a ritualistic feeding for his beloved sharks. The captive must figure out a way to best the villain as time runs out, and the boat offers few places to hide. 

This 2025 survival horror stars Jai Courtney as the shark-obsessed fiend himself, who offers a delightfully unhinged turn in the role of Tucker. Despite the seemingly wacky premise, Dangerous Animals is a clever, thrilling picture that is as artful as it is deliriously fun.

In this Vincent Price classic, the veteran horror actor plays eccentric millionaire Frederick Loren, who invites five guests to his allegedly haunted mansion for a game of sorts. The game is simple: survive the night in the house, and win $10,000 apiece. But the task is not as simple as it appears, and Loren has a number of tricks up his sleeve.

If you’re looking to get in the holiday spirit, House on Haunted Hill is full of the perfect Halloween atmosphere — and Price’s sheet presence makes that all the more impactful. The film utilizes several carnival haunted house props in its scare sequences, and lives up to being a true classic that is just as creepy as it is campy.

On the surface, In A Violent Nature is about a group of teens who unknowingly resurrect the corpse of a long-dead but exceedingly vengeful spirit. But instead of keeping the audience’s perspective with the hunted teenagers, we are transported through the film alongside the murderous spirit, watching his every mundane movement as he goes from kill to kill.

The patient and ambient nature of the film has led some to consider it a piece of “slow cinema horror.” It’s a stripped-down genre exercise that breathes new life into the slasher picture that we’ve seen done time and time again. But In A Violent Nature isn’t just a thoughtful arthouse interpretation of Jason — it’s got plenty of gore to keep real horror heads happy.

When a woman is brutally murdered in her home while alone one night, the blame is pinned on the recently released psychiatric patient of her husband’s hospital. A year later, the woman’s identical twin sister, a clairvoyant, begins to suspect that foul play was involved. She brings a powerful occult tool to the scene of the crime to help her find answers.

This Irish supernatural horror film will creep its way under your skin and stay there. Atmospheric, elegant and above all, a seriously spooky story, Oddity’s final scene will give you nightmares. Not to mention, the jump scares are actually scary.

Daughters of Darkness centers on a couple of newlyweds who stop at an innocuous French hotel. There, they meet a beautiful countess and her ravishing assistant. As the hotel owner swears he saw the countess at his hotel, unchanged in appearance, 40 years ago, the couple is slowly drawn under her bewitching spell.

Daughters of Darkness blends Gothic horror with psychosexual drama to create a moody and sensuous piece of Euro-horror. With hypnotizing performances and a slowly unfurling narrative, it’s hard not to fall under the spell of the Countess, too. Daughter of the Darkness has been referenced by musician and director Rob Zombie as one of his formative artistic inspirations.