Between the various streaming services and their gargantuan libraries, finding what to watch can be overwhelming at best. Each month brings a plethora of new additions to streaming libraries across all platforms, including Hulu. That means an insane selection of all styles and types of horror that can lead to hours of endless scrolling.
If you’re stuck trying to find what to watch on streaming, we’re here to help.
Here are the best Hulu horror movies you can stream right now, from new releases to underrated sequels to indie creature features and beyond.
28 Weeks Later
Six months after the rage virus depleted Great Britain’s population, the US Army helps to secure a small area of London for the survivors to return to resume a post-apocalyptic life. After a carrier of the highly infectious pathogen gets brought in for testing, however, the virus takes root in the quarantined city and threatens to destroy them all. Taking on a whole new set of characters, 28 Weeks Later delivers non-stop action thrills while building a bit on the virus. Robert Carlyle makes an unnerving antagonist as a father whose guilt marks the impetus for this viral nightmare.
After Midnight
After ten years together, Abby (Brea Grant) quietly leaves her boyfriend Hank (screenwriter/co-director Jeremy Gardner), with only a cryptic note indicating her disappearance. He expects her to return, but as the days turn into weeks, abandonment and depression take root. However, in Abby’s absence, Hank’s rural family home falls under siege of a strange monster. Gardner and co-director Christian Stella inject genre into the examination of a relationship, alternating between a happier past and a monstrous present. In other words, don’t go in expecting a straightforward creature feature; this one favors love. Do go in expecting an iconic Lisa Loeb song to get cast in an all-new, hilarious light.
Alien
With a new Alien film on the way this year, there’s no better time than now to revisit this stone cold classic. Ridley Scott’s 1979 film introduces the crew of the Nostromo as they awaken from hyper sleep and answer a distress beacon from a nearby moon. Naturally, what they find there plunges them into a claustrophobic nightmare in space. From Sigourney Weaver’s iconic Ellen Ripley to the equally iconic alien, in large part thanks to the design from H.R. Giger, it’s easy to see why Alien launched an enduring franchise.
The Autopsy of Jane Doe
Jennifer Kent’s feature directorial debut traps a woman (Essie Davis) in a relentless domestic nightmare thanks to her inner demons manifesting through a creepy children’s book. As if that’s not enough, the woman faces yet another monstrous terror in her rambunctious son Samuel (Noah Wiseman). While Samuel may make for one of the most grating children in horror, it’s that authentic portrayal of a mother at her wit’s end, and then some, that heightens the visceral monster metaphor. Kent’s ability to craft potent scares only heightens the impact and emotional devastation.
Backcountry
An urban couple gets in over their heads when they wind up lost in nature during a camping trip. Their inexperience proves even more dangerous when they realize they’ve ventured into the territory of an aggressive black bear. Adam MacDonald’s wilderness set horror movie emphasizes nature. The focus is on the gorgeous yet hostile environment and the mounting tensions between its leads for much of its runtime. None of it will prepare for the brutal bloodletting in the final act.
Bad Milo!
Duncan (Ken Marino) suffers from severe anxiety and stress. So much so that it triggers gastrointestinal duress. At his doctor’s appointment, they discover a large polyp in his intestinal tract. It grows into a two-foot monster that emerges from his body to destroy anything that it perceives to be a stress trigger for Duncan. He’ll have to learn to reign in his anxiety if he wants to stop the monster’s rampage. Milo, Duncan’s gastro-beast, makes for one of horror’s most adorable creatures. Even when it’s ripping people apart with its teeth, Milo’s heart is in the right place. The film also stars Peter Stormare, Gillian Jacobs, Patrick Warburton, and Kumail Nanjiani.
Bone Tomahawk
When unseen attackers swoop in one night and steal horses and a few town residents, the town sheriff (Kurt Russell) sets off with a small search party to rescue them. The journey getting there is filled with injury, harsh conditions, and ruthless raiders. None of it prepares them for the vicious troglodyte clan they’ll have to battle for their lives and the lives of the townsfolk they’ve come to save. This movie is pure western, right up until the horror barrels into you like freight train; one of the kills this movie is a horrific, grisly all-timer.
The Cabin in the Woods
Five friends opt for a weekend getaway at a cabin in the woods. Their party gets interrupted by a zombie redneck torture family, and they start dying one by one according to their archetypical horror roles. Of course, there’s much more than meets the eye in this horror-comedy, and they realize there’s a much bigger plot afoot. In terms of entertainment and monster mashups, it doesn’t get much better than this. Just about every single conceivable monster is represented on screen in the Grand Guignol finale, from killer mermaids to werewolves to angry titans. The third act alone makes Drew Goddard’s feature debut worth revisiting time and time again.
Censor
Prano Bailey-Bond’s feature debut is an atmospheric plunge into the Video Nasty era, resulting in a creative and nightmarish critique of the moral scrutiny and censorship that fueled it. Niamh Algar excels as a stern, old-fashioned woman slowly unmoored by seismic shifts in her safe little bubble. Neon hues of frenzied nightmares bleed over into the drab colors of reality, signaling a visually stunning descent into madness. Bailey-Bond crafts a potent love letter to the genre that’s intricate, gorgeous, mesmerizing, and uninterested in hand-holding.
Come True
Writer/Director Anthony Scott Burns’ standout segment “Father’s Day” in Holidays exuded an eerie atmosphere, mystery, and cosmic horror that left you excited for more. Come True lives up to the anticipation, once again bringing the cosmic horror vibes and unsettling retro synth mood. Julia Sarah Stone stars as a teen runaway who takes part in a sleep study, but that decision might prove lethal when it threatens to bring her deep-seated nightmares into waking life. A strange examination of dreams and their power, Burns delivers some potent nightmare fuel and imagery.
Day of the Dead
The third entry of George A. Romero’s Dead series shows the world entirely inundated by zombies. Though the numbers have vastly dwindled before the film’s start, the future of civilization looks bleak due to the handful of remaining survivors being unable to get along. Dr. Matthew Logan (Richard Liberty, The Crazies), the cheerful lead scientist, and his favorite test subject Bub (Sherman Howard) lie in the middle of warring factions in this zombie movie classic. The docile, loyal, and music-loving zombie will steal your heart.
The Descent
One year after a tragic accident, Sarah sets off with her friends on a spelunking adventure. Too bad pal Juno leads the group into an uncharted cave system, which traps them due to a collapse. As if no hope of rescue isn’t bad enough, this cave system happens to be inhabited by man-eating creatures. The fight for survival has never been quite as primal and bloody as it is in Neil Marshall’s fantastic entry in the annals of claustrophobic horror. Deep within the bowels of a cave, the Crawlers long ago adapted to an unlit terrain where the sun can’t reach. These creatures hunt in darkness and never come out during the day.
Escape Room
The rise of escape rooms meant that it was likely inevitable that horror would eventually set its sights on the popular group puzzle solving activity. Director Adam Robitel and production designer Edward Thomas did just that, crafting an intricately themed escape room for six strangers that have unwittingly entered into a deadly game. From burning hot lobby rooms to inverted pool halls to snowy cabins with icy lakes – and despite the very high stakes involved for the players – the set pieces are so extravagant that you can’t help but wish you could play an escape room like this. Though the characters dying in these rooms would likely disagree.
The Eyes of My Mother
Nicolas Pesce’s feature debut blends the beautiful with the disturbing with a serial killer origin story. Francisca (Kika Magalhaes) lives in isolation with her parents, but an unspeakable tragedy leaves her irrevocably altered, shattering her and instilling unnatural curiosities. Pesce evokes sympathy for his killer, even as she commits gruesome acts of violence. Shot in black and white, The Eyes of My Mother makes for one stunning, audacious debut that sticks with you.
Hellraiser
The arbiters of pain and suffering are back in the Hellraiser franchise’s eleventh feature, this time with a reimagining by The Night House director David Bruckner and screenwriters Luke Piotrowski and Ben Collins. Piotrowski and Collins opt for straightforward simplicity here that lets Bruckner’s imagery do the heavy lifting. There’s a deep well of mythology without any handholding. Jamie Clayton’s inspired performance as the Hell Priest, the Cenobite leader, impresses most of all.
Hunter Hunter
With a deceptively simple setup, writer/director Shawn Linden presents a harrowing pressure cooker of a survival thriller for protagonist Anne (Camille Sullivan). A quiet build up of all the red herrings, plot threads, and dangers slowly culminates into of the most intense third acts to come along in recent memory. Within the familiar survival thriller setup lies a film unafraid to get savage, delivering one of the most hardcore endings in recent memory. It’s as brutal as it is strangely cathartic, but boy, is it grim as hell.
I Saw the Devil
One of the most brutal and unrelenting horror films of the decade, and arguably all time. Jee-woon Kim’s I Saw the Devil gives the revenge thriller one severely bleak, grisly facelift. When a serial killer viciously murders a secret service agent’s pregnant fiancée, the agent becomes driven by vengeance. That results in a cat and mouse game that gets so brutal the lines between protagonist and antagonist blur. Visceral and shocking, this is a must for those who like their horror extremely dark.
In the Earth
While a deadly virus ravages the world, Dr. Martin Lowery (Joel Fry) heads deep into the woods to locate Dr. Olivia (Hayley Squires) with park scout guide Alma (Ellora Torchia). They’re attacked in the middle of the night and left shoeless. It leads them to Zach (Inside No. 9’s Reece Shearsmith), a hippie type living off-grid. Getting in and out of the forest won’t be easy anymore, as reality ceases to hold meaning. Ben Wheatley crafts a wild, hallucinogenic descent into abject terror and includes folk horror mythology and references to witchcraft. It’s a voyage through insanity that doesn’t skimp on the horror or violence, including cringe-worthy body horror moments.
Infinity Pool
Writer/Director Brandon Cronenberg once again delivers mind-bending, warped horror in the resort-set Infinity Pool. Straightaway, Cronenberg instills an off-kilter, satirical vibe with his fictional setting, and that unravels into deranged madness thanks the fearless, committed performances by Alexander Skarsgård and Mia Goth. Together, the pair take their characters to places that never fail to leave your jaw on the floor- again and again. More than just a horror-tinged repeating cycle of violence and debauchery, Infinity Pool is funny as well.
It Lives Inside
Writer/Director Bishal Dutta refreshingly gives a new spin on demonic possession for his feature film debut. Dutta uses a familiar framework of teen horror as an accessible introduction to underexplored mythology exacerbated by a cultural divide and adolescence. Sam (Megan Suri) wants to fit in at school, so much so that she’s tried to distance herself from her cultural background as an Indian-American teen. This includes distancing herself from former childhood friend Tamira (Mohana Krishnan), who’s taken to carrying a strange jar around, to avoid staring looks and hushed whispers. The jar breaks, sending both girls down a dark path of demonic horror. It can’t be overstated just how unique and cool this demon is on screen.
The Last Circus
Biting social satire meets brutal violence in this dark horror-comedy, where a young trapeze artist is torn between her lust for Sergio, the Happy Clown, or her affection for Javier, the Sad Clown. That both clowns are disturbed individuals means an explosive love triangle with catastrophic casualties. It’s one of the most stunning and somber genre-benders from Spanish director Álex de la Iglesia (“30 Coins”).
Little Monsters
Lupita Nyong’o already proved her dramatic chops in the genre space twice over with Jordan Peele’s Us. So much so that Us overshadowed Nyong’o’s other 2019 release, the horror-comedy Little Monsters. The actress charms with a winsome performance as Miss Audrey Caroline, a kindergarten teacher forced to keep her students safe when their field trip gets invaded by zombies. It’s a heartfelt story with offbeat humor from writer/director Abe Forsythe (“Wolf Like Me”), and Nyong’o is once again the film’s MVP.
Mandy
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Nicolas Cage in ‘Mandy’
The quiet lives of Red Miller (Nicolas Cage) and Mandy Bloom (Andrea Riseborough) get irrevocably altered when the hippie cult Children of the New Dawn pass by Mandy on the road. Cult leader Jeremiah Sand (Linus Roache) decides he must have her and unleashes his followers to fulfill his lust. However, Sand doesn’t take lightly to rejection, resulting in a harrowing tragedy that sends Red on a drug-induced quest for vengeance. Panos Cosmatos’s highly stylized, psychedelic revenge thriller delivers vibrant imagery and ultraviolence. It’s grounded by a fantastic cast bringing their A-game, including a raw performance by lead Cage.
The Menu
An ensemble of affluent patrons gathers at the exclusive Hawthorne Island for a dining experience run by prestigious Chef Slowik (Ralph Fiennes). The guests soon realize what devious, deadly dishes the Chef intends to serve. The Menu may have gathered a fine cast for this delectable culinary nightmare, but the film belongs to Fiennes. Maybe watch this one on “Taco Tuesday.”
Monsters
Written and directed by Gareth Edwards, this giant creature feature is likely responsible for Edwards landing the gig directing the 2014 American reboot, Godzilla. His feature debut is set six years after extraterrestrials crash-landed in Central America and began to spread. The U.S. and Mexican military struggle to keep the giant creatures contained in a quarantined area, creating a danger zone that a cynical journalist must navigate as he escorts a shaken tourist to the safety of the U.S. border. Gareth transcends the shackles of low-budget constraints with impressive visual effects and a story focused on the human condition. It’s innovative and ambitious.
My Friend Dahmer
My Friend Dahmer blends horror, drama, and true crime to create something very atypical and unique. Based on the 2012 graphic novel by cartoonist John “Derf” Backderf, who’d been friends with Jeffrey Dahmer in high school, the film chronicles Dahmer’s attempts to fit in while struggling with emerging dark impulses. It’s a true-crime biopic before the actual crimes take place. That doesn’t make it any less unnerving and often touching. Ross Lynch’s portrayal of Dahmer is captivating.
Nightmare Alley
Appearances are often deceiving, and nothing is ever as straightforward as it appears with the sprawling cast of Guillermo del Toro’s Nightmare Alley. It’s a somber tale of a man (Bradley Cooper) so blinded by his pursuits and ambition that he fails to heed the warnings and signs time and time again, despite many along his path spelling it all out for him. This noirish tale wholly bears del Toro’s imprint and penchant for stylistic flourishes, symbolism, and melancholic romance with an impressive cast and lavish production design.
No Exit
Darby Thorne (Havana Rose Liu) just received a call that her mother is gravely ill and in the hospital. She escapes her rehab center and begins the road trip to see mom. A raging blizzard forces Darby to seek refuge for the night at a highway rest stop along with four other strangers. When she discovers a young girl (Mila Harris) bound and gagged in the back of a van, she realizes one of the strangers inside is the kidnapper, and it kickstarts a harrowing fight to survive. The kidnapper’s identity is only the beginning of an increasingly intense survive-the-night thriller.
No One Will Save You
Writer/Director Brian Duffield (Spontanteous) unleashes floor-to-ceiling aliens in this sci-fi thriller. No One Will Save You introduces Brynn Adams (Kaitlyn Dever), a creative and talented young woman who’s been alienated from her community. Lonely but ever hopeful, Brynn finds solace within the walls of the home where she grew up—until she’s awakened one night by strange noises from decidedly unearthly intruders.
The Omen
Director Richard Donner is known for his popular action films, but his break-through film was actually one of the best horror films ever made. Donner and screenwriter David Seltzer grounded a supernatural tale of the Antichrist in realism. Moreover, it infused The Omen with an ambiguous paranoia that teased the audience with the possibility that the eerie horror was all in the mind of guilt-ridden father Robert Thorn (Gregory Peck). Of course it isn’t, and that push-and-pull between the Antichrist and his adoptive father birthed a horror classic.
Personal Shopper
Kristen Stewart stars in this slow-burn haunted as a personal shopper, Maureen, still reeling from the loss of her twin brother. When she’s not distracted with work, Maureen finds herself attempting to contact her brother from beyond. What begins as a meditative indie drama on grief and isolation eventually transforms into a quiet, spooky exercise in ambiguous horror. It operates on mood over storytelling, which makes for an audacious and divisive horror entry.
Piggy
In Piggy, it’s not just the bullies and the bullied that deal with the emotional fallout and ramifications of bullying. Spanish writer/director Carlota Pereda adapts her 2018 short, expanding on the complex effects of bullying against a backdrop of horror. It ripples through a small town, exacerbated by the arrival of a serial killer, presenting an immersive, psychological character study. Pereda frames everything through Sara’s (Laura Galán) browbeaten perspective and puts the viewer in her shoes, making us complicit and empathetic to her moral conundrum.
Pilgrim
A woman invites pilgrim re-enactors into her home to give her family an authentic recreation of the first Thanksgiving, hoping it’ll get them to put down their phones and bring them closer together. Her well-intentioned plan backfires when the actors refuse to break character, and their behavior grows more alarming. Written by Noah Feinberg, Patrick Melton, and Marcus Dunstan, the latter of whom directs, Pilgrim builds to a wild finale.
Possessor: Uncut
In this mind-bending sci-fi thriller, Andrea Riseborough stars as Tasya Vos, a high-tech assassin who takes over other people’s bodies to execute high-profile targets. When she inhabits the body of her latest host, Colin (Christopher Abbot), his soul isn’t quite as willing to let her take over thanks to her weakened mental state, and the war over control threatens to obliterate them both. It’s insanely gory and violent. Matching the glorious gore and intricate character/actor work is the slick production.
Predator
Arnold Schwarzenegger stars as Dutch, a special ops leader sent into the jungle on a rescue mission with his elite team. Shortly after realizing there’s more than meets the eye about their assignment, the highly trained team discovers they’re being hunted by something far more dangerous and not of this Earth. Iconic one liners, gory deaths, a great cast, and one unforgettable creature design make this one an endlessly entertaining classic.
Prey
Prey takes its cues from 1987’s Predator in terms of simplicity and bloody action-horror. Its cultural specificity and period setting lend a sweeping period epic feel and introduce emotional stakes through its memorable characters. Set in the Great Plains in 1719, Prey introduces Naru (Amber Midthunder), a young Comanche woman uninterested in fulfilling the domestic role her tribe expects of her. Naru wants to hunt, like her brother and respected hunter Taabe (Dakota Beavers). She sets out to test her mettle and protect her tribe when an unknown threat emerges across the ridge. Prey may take place three centuries before Predator, but it’s not a prequel so much as it is a thrilling film in conversation with the original.
Shutter
Forget the 2008 American remake and head straight for the 2004 Thai horror film on which it was based. It’s grittier, creepier, and somewhat forgotten. When photographer Tun and his girlfriend Jane get into a hit and run, leaving a girl dying on the side of the road, strange faces and shadows begin taking over Tun’s photographs. The haunting escalates, and first appearances would lead you to believe it’s tied to the hit and run, but the twisty mystery behind the haunting is much more surprising and sinister. Shutter takes Asian supernatural horror tropes and makes them feel fresh again with effective jump scares and an engaging mystery.
Spiral: From the Book of Saw
Director Darren Lynn Bousman returns to usher the series in a different direction for the ninth installment without the complicated mythology. Chris Rock stars as Detective Zeke Banks, a deeply cynical cop that’s amassed an impressive number of enemies during his tenure. Saddled with a rookie partner (Max Minghella) he doesn’t want, Zeke gets assigned a throwaway case that turns out to be something far more significant and grislier than anyone anticipated. A new Jigsaw-inspired copycat unleashes a new game of lethal justice, and this time their target is the police. The traps bring the pain, but this spinoff sequel bears more in common with a police procedural.
Splinter
In this fun creature feature, a road trip gets stalled out by the unexpected. A young couple sets off for a romantic camping getaway but gets car-jacked by an escaped convict and his girlfriend. Then they get a flat tire that prompts them to seek help from a nearby gas station. Something is gravely wrong there, and the foursome must team up against a bizarre parasite infecting everything. It’s a single-location thriller with inventive creature work.
Titane
Julia Ducournau finds unique, transgressive ways to use body horror that trigger instant revulsion yet garner instant empathy. Alexia is an anti-heroine, borderline sociopathic, and thoroughly magnetic, thanks to her shocking acts. Alexia’s serial killer instincts evolve into something else as she finds a bizarre father figure as broken as she is. Titane throws everything at its audience in an aggressive style. Visceral, cringe-worthy violence, tenderness, and bizarre sexual encounters.
Tucker and Dale vs. Evil
Tucker (Alan Tudyk) and pal Dale (Tyler Labine) expected a peaceful summer getaway after purchasing their dream vacation home – a decrepit cabin in the woods. Instead, they’re inundated by a snobby group of college kids who’ve mistaken the duo as murderous hillbillies; and they won’t stop killing themselves on their property. It’s splatstick with a whole lot of heart, made even more memorable for its subversion of tropes and the lead performances by Tudyk and Labine.
Underwater
Underwater is a grand spectacle film that feels explicitly tailored for the horror fan, one that doesn’t bother with pretension and dives straight into the horror. There’s not even a first act. The inciting event that knocks out an entire underwater drilling station and leaves its handful of survivors scrambling across the ocean floor to safety happens within the first few minutes. While director William Eubank (2014’s The Signal) does borrow from some obvious influences, it doesn’t make it any less fun or nerve-fraying. And it doesn’t prepare you for an epic third act reveal.
V/H/S
Writer/Director Keith Thomas brings a new perspective to a familiar setup without sacrificing any scares. The ominous atmosphere and unsettling moments deliver the chills. The filmmaker also takes significant measures to ensure that this story is told in an accessible way. A familiar tale of demonic possession becomes enriched by its subtext of inherited generational traumas, and its core themes of guilt and religious obligation are inherently relatable regardless of beliefs. They’re universal. A long untapped corner of religion and folklore finally gets explored excitingly and elicits goosebumps in the process.