The Best HORROR MOVIES of 2024: TV Shows, Satan, and Heresy

Even though someone announces burnout, exhaustion, and the twilight of the genre every now and then, every year new horror movies hit the screens and make their mark not only in the prestigious lineage of the genre but also in the panorama of world cinema in general. Such was the case in 2024, when horror films gained recognition and acclaim at the most important festivals and, as usual, made quite a splash in the box office numbers. Among this year’s offerings from the realm of cinematic fright, there were particularly strong entries that could confidently rank among the overall top films of the year, not just genre-wise, proving that horror is in no way going anywhere.

Longlegs

In early summer, Osgood Perkins dominated the cinemas with his new film, deeply bowing to The Silence of the Lambs, Se7en, the satanic horror subgenre, and ’70s glam rock. Longlegs is an exquisite mix of genre tropes, thoroughly gripping, and properly terrifying with a thick, unsettling atmosphere. It’s hard to say what’s better here – the tense Maika Monroe as an FBI agent unraveling an occult mystery, the wonderfully over-the-top Nicolas Cage, who may never have been so terrifying, or Alicia Witt, giving chills as the unhinged mother of the protagonist. Yes, Perkins’ film occasionally compensates for script shortcomings with atmosphere, but it does so with such force that it’s hard to complain. Longlegs is a top contender among horror films and films of the year, proving that it’s much better to get lost with Osgood Perkins than to find your way with most of his peers in the industry.

The Substance

It’s no secret that horror is an excellent tool for often subversive critique of various social issues. The Substance by Coralie Fargeat, one of the hits of this year’s Cannes and New Horizons festivals, is a perfect illustration of this thesis. Powered by an energetic acting duel between Demi Moore and Margaret Qualley, the film wraps a body horror convention around a commentary on the cult of the body, beauty, and the murderous pursuit of maintaining youth and attractiveness. As a horror film, it points out the pitfalls of this phenomenon while never letting off the gas, giving us a true spectacle full of bodily fluids, grotesque images, and disturbing physical transformations. The director successfully combines reflection with the entertainment value of the film, which earned her deserved nominations and awards (including the best screenplay award at Cannes).

The Devil’s Bath

The themes of witchcraft and the female experience of demonic forces will likely be present in cinema as long as horror films are being made. And while the themes explored by Severin Fiala and Veronika Franz in The Devil’s Bath may not be groundbreaking, the Austrian film works phenomenally in its niche, acting as a bridge between sharp social cinema and classic horror. The film tells the story of a young woman who is getting married somewhere in the Alpine wilderness. In the background looms the theme of a cursed child murderer, and much space is devoted to the harsh life of the impoverished peasantry. In this setting, Agnes, brilliantly played by Anja Plaschg, experiences disturbing things, heading toward a sinister transformation. With atmospheric sounds by Soap&Skin (the pseudonym of the lead actress herself) and dark frames by Martin Gschlacht, the film gives you chills while simultaneously triggering reflections on femininity, motherhood, and the social shackles binding both genders. The Devil’s Bath could easily stand alongside The Witch. A New England Folktale as an exemplary piece of ambitious folk horror.

Oddity

Every year there’s a horror film that turns out to be something special, even though nothing about it seemed to promise that. With a small budget, no big names, minimal resources, and no broad promotion – such a film can still create a great horror spectacle. This year, that title was the Irish film Oddity. The film, which bypassed regular distribution and went directly to VOD, may not surprise, but it delivers exactly what you would expect from it. Right from the start, it promises a tension-filled story centered around a mysterious murder in a sinister house with psychiatric patients and a medium-earning sister of the murdered victim, with paranormal inclinations. In Damian McCarthy’s film, the tension remains high throughout the entire viewing, and the intertwining of criminal, psychological, and demonic layers couldn’t work better. Oddity proves that sometimes it’s worth trusting in tried-and-true genre motifs, and to achieve a striking effect, one only needs to focus on atmosphere, without forcing unnecessary plot twists.

I Saw the TV Glow

Horror is a genre so broad that it encompasses many themes and can easily merge with other genres, with terror often seeping into stories that seem to come from entirely different places. This happens in Jane Schoenburn’s I Saw the TV Glow, which, for lack of a better term, could be described as Lynchian. The atmosphere of constant unease and the supernatural power of the titular television screen place this story on the border between horror and science fiction, while the focus on the main character’s coming-of-age drama and quest for identity gives it a unique existential drama and even existential darkness. This is one of the less obvious and more enigmatic films of the year, reminiscent of the surreal puzzles of David Lynch, and, like his works, it sends shivers down your spine in many places.

MaXXXine

Ti West and Mia Goth’s three-film project yielded its best fruit in the middle installment, the phenomenal Pearl, but this year’s conclusion to the trilogy, which began with X, did not disappoint. MaXXXine continues the story of the title character, who, after surviving the massacre in the first film, is building a career in Hollywood. Or rather, on its pornographic periphery, still holding on to the hope of making it into real cinema. However, Maxine’s past comes back to haunt her, and the fact that she is the lead in a horror franchise means she will have to face a mysterious killer terrorizing Los Angeles. Just as X invoked the vibe of ‘70s slashers, MaXXXine creates a strong ‘80s feel, with graphic violence reminiscent of B-horror films that touch on snuff and the ever-present anti-satanic panic. At the center, of course, is the stylish, unpredictable, and charismatic Mia Goth, who confidently navigates this neon-latex show, which rightfully wraps up the saga of pursuing one’s dreams at any cost.

Late Night with the Devil

Is Hollywood and the entire entertainment industry involved in pacts with dark forces? Experts are divided. But whatever the case may be, the motif of a contract supporting the career of a confident late-night talk-show host is a fantastic premise for a film. Late Night with the Devil is a successful hybrid of mockumentary and classic possession and satanic dealings spectacle. The retro style, creeping organic horror, and the juggling of TV and cinematic motifs provide – much like a good prime-time show – a wide range of thrills.

In a Violent Nature

What if a classic bloody slasher was made in the style of slow festival cinema? That’s the question Chris Nash asked himself and answered by making In a Violent Nature. The Canadian film (which went straight to streaming) tells the story of a demonic, psychopathic killer in a mask, continuing the noble tradition of villains like Leatherface, Michael Myers, or Jason Voorhees, as he stalks a group of students in a silent, dense forest. While he kills in creative and bloody ways, the film’s pacing is much closer to the contemplative films of Béla Tarr or Carlos Reygadas than to other slashers. The camera glides through the woods following Johnny, who moves methodically from one murder to the next, while the titular nature remains a silent witness to evil – or maybe its source? Who would have thought that such philosophical musings could accompany a film about a maniac with a hook?

The First Omen

Recent years have been full of reboots of classic horror franchises – Halloween, The Exorcist, and Scream have returned to the screens, and we even had another version of The Texas Chainsaw Massacre. In this context, it would be strange if Hollywood didn’t want to capitalize on The Omen, one of the most memorable horror films. The result is The First Omen, which, against the odds, turned out to be a very solid film. Sure, the script may take a few shortcuts, repeating not only motifs from the original but also those from other occult-themed films, and some elements of the plot are off and undermine the original aura of darkness, but a horror film’s primary goal is to scare. And The First Omen does that excellently. Much of the credit goes to Nell Tiger Free, who shines in the lead role and allows viewers to immerse themselves in the atmosphere of demonic threat. Surrounding her, the filmmakers create a dense, satanic atmosphere, ensuring that the new The Omen lets you forget the narrative mishaps and fully enter the world of religious horror.

Heretic

At the end of the year, Hugh Grant could be seen in cinemas, inviting viewers to Heretic with his characteristic – well, perhaps now a bit older – mischievous smile. The former king of romantic comedies and the courtly heartthrob of valentine’s-day-summer cinema is increasingly associated with villainous roles (perhaps Paddington 2 changed his life), and here he plays a theologically sharp tormentor who traps young missionaries of the Church of Jesus Christ of Latter-Day Saints (in simpler terms: Mormons). From this starting point, the director duo Scott Beck and Bryan Woods crafts a surprisingly fresh and engaging thriller focused on fundamental issues of faith and disbelief. There’s room for theological debates, classic haunted house moments, religious ecstasy, Radiohead, and humorous references to Star Wars (the key question is: will Jar Jar Binks be a saint?). This mix, though it brings some more clichéd and less successful notes, works excellently as a horror spectacle, sitting somewhere between psychologically-driven horror with social ambitions (produced by A24) and classic genre entertainment. And for such productions, it’s worth enduring a few generic scares.