The Best Horror Movies on Amazon Prime Right Now

[Last Updated: 4/7/2018]

Looking for a good scare, but not sure where to start? The good news is Amazon Prime boasts quite a few quality horror films, even if the suggested title algorithm doesn’t always bring the cream of the crop to the forefront. Looking for something classic? Go for Blood and Lace or Night of the Living Dead? Seen those already and looking for something new? No problem, Amazon’s video service regularly updates with new favorites like The Blackcoat’s Daughter and The Girl with All the Gifts. There’s a lot to chose from.

Nobody likes to get lost in the infinite streaming scroll so we’re making it easy to separate the best from the rest with our regularly updated list of the best horror movies streaming on Amazon Prime right now. Get your popcorn ready, bust out the slanket, and settle in for some spooks We’ll be updating and expanding this list regularly, so be sure to come back for the latest recommendations and newly added titles.

Still looking for something spooky, but didn’t find what you want? Be sure to check out our updated list of the Best Horror Movies on Netflix Right Now. For more streaming recommendations, head over to the Best Movies on Amazon Prime Right NowBest TV Shows on Amazon Prime Right Now. Best Movies on Netflix Right NowBest TV Shows on Netflix Right Now, and Best Sci-Fi Movies on Netflix Right Now.

Chopping Mall

Image via Concord Pictures

Director: Jim Wynorski

Writers: Jim Wynorski, Steve Mitchell

Cast: Kelli Maroney, Tony O’Dell’ Barbara Crampton, Karrie Emmerson, Russell Todd, Nick Segal, Dick Miller

Chopping Mall is 80s to the utmost; the neon, the hair, the overtly sensationalist nudity, but in the place of your average slasher killer, Chopping Mall pits a gang of lusty teens against a trio of deadly, malfunctioning mall security robots. Locked in the high-tech shopping mall overnight with the laser-eyed murderbots rolling up behind their every move, the teens arm up and fight back to the quintessential 80s electronic score. Whacky and unafraid to be more more fun than scary, Chopping Mall is a delightful B-movie where people say things like “I’m just not used to be chased around a mall in the middle of the night by killer robots” with a straight face. The whole film has that cheeky self-awareness, including some none-to-subtle genre references — it even features one of Eating Raoul duo Paul Bartel and Mary Woronov‘s seventeen film cameos as The Blands. Funny and endlessly entertaining, Chopping Mall is a perfect throwback midnight movie. Thank you, have a nice day. — Haleigh Foutch

Night of the Living Dead

Director: George A. Romero

Writers: George A. Romero and John A. Russo

The zombies in George A. Romero’s Night of the Living Dead are called “ghouls” but nonetheless this is the film that created the movie zombie as we know them: blank, thoughtless creatures who lumber around with vacant stares and barely retain any resembling sense of their humanity. For this reason, the thrill of the movie zombie has generally been in seeing how our heroes with brains dispatch them with great efficiency and cruelty. They’re no longer human, after all.

However, re-watch Romero’s film and try not to escape with having more sympathy for the “ghouls” than most of the humans. The living humans mostly only retain humanity’s weakest learned attributes: prejudice, xenophobia and selfishness. The most selfless non-ghoul we follow (Duane Jones) is famously shot—after valiantly fighting against the ghouls—simply because his skin color triggers a suspicious reaction to the man on the other end of the rifle. But Romero plants many other distrusts of authority motifs throughout Night of the Living Dead. In 1968, recent public opinion on the war of Vietnam and in the police tactics during the Civil Rights movement had shifted to no longer give blanket trust of best intentions to law enforcement, generals and soldiers. They’re human after all, and many humans harbor ill intent to others. Just watch the burial of the once human ghouls who are dragged out by meat hooks and burned in a pile and try not to think of any xenophobic war or a horrific systemic view of the “other”. –Brian Formo

The Witch

Writer and Director: Robert Eggers

Cast: Anya Taylor-Joy, Ralph Ineson, Kate Dickie, Harvey Scrimshaw

Directorial debuts don’t get much better than what Robert Eggers pulled off with The Witch, an immersive, atmospheric exercise in the existential dread of the fanatically devout. Eggers never caters to the lowest common denominator. Instead, he demands that you sit up and pay attention — and he makes sure you damn well do by mashing up some baby remains with a mortar and pestle, on screen, right out of the gate. Admittedly, the ye olde language can be a bit of a challenge, but once you adjust, Eggers sucks you in with a holistic vision of historical terrors and the lurid attraction of a sinister life, well lived. After all, what is the point of being pure if you get nothing but pain for it? The Witch is alternately languid and bursting at the seams with kinetic frenzy, and that keeps you ever on your toes and the devil’s pernicious presence spreads through a rigidly puritan family, unhindered by their devotion. Eggers vision is matched by the talent of his cast, especially the career-making turns from the young leads Anya Taylor-Joy and Harvey Scrimshawmaking for the rare horror film that doesn’t just shock and scare, but burrows into your mind and sits there to rot. Would you like to live deliciously? Well you see, the thing is, I’m afraid I might. — Haleigh Foutch

The Girl with All the Gifts

Director: Colm McCarthy

Screenwriter: Mike Carey

Cast: Sennia Nanua, Gemma ArtertonGlenn CloseDominique Tipper, Paddy Considine

A lot of you probably won’t have heard of The Girl with All the Gifts, and that’s a damn shame. McCarthy’s clever update on the stale zombie narrative was quietly dumped in America despite heaps of positive festival reviews and a solid UK opening, but it’s well worth seeking out. Based on Mike Carey‘s hit YA novel, from a screenplay he penned himself, the film takes place in an apocalyptic dystopia where the world has been ravaged by mold-covered zombies called “Hungries”. We pick up with the survivors of a military camp, where they’re searching for a cure by experimenting on different, trickier kind of monster — human/hungry hybrid children who look, think, and act like your average school kids… until they catch the scent of live flesh and the monster comes out. When one of the test subjects, a precocious young girl Melanie (Nanua, who is phenomenal in her feature debut), demonstrates an aptitude for self-control, she’s thrust into an uneasy alliance with her beloved teacher (Arterton) and a team of soldiers as they venture beyond the confines of the camp and discover a new world, no longer dictated by human rule. A potent blend of horror with sci-fi just enough philosophical musing to elevate it beyond a campy romp, The Girl with All the Gifts is the perfect zombie film for the post-Walking Dead age. — Haleigh Foutch

What We Do in the Shadows

Writers and Directors: Jemaine Clement and Taika Waititi

Cast: Jemaine Clement, Taika Waititi, Jonathan Brugh, Ben Fransham

Finally, someone breathes new life into the vampire genre! What We Do in the Shadows is a mockumentary about four vampire flatmates and it takes an absolutely delightful approach to exploring creature clichés in a deadpan, reality show-like manner. Viago (Taika Waititi), Vlad (Jemaine Clement), Deacon (Jonathan Brugh) and Petyr (Ben Fransham) all turned during different time periods, which leads to some brilliant spins on familiar issues like doing the dishes, getting into nightclubs, adapting to new technology and so much more. The only unfortunate thing about What We Do in the Shadows is that it clocks in at a mere 86 minutes. Between the winning jokes and the wildly charming friendships between the characters, I’d happily watch a whole series about their antics. — Perri Nemiroff

Blood and Lace

Director: Philip Gilbert
Writer: Gil Lasky
Cast: Melody Patterson, Gloria Grahame, Len Lesser, Milton Selzer, Vic Tayback, Terri Messina, Ronald Taft
Seven years prior to Halloween, here’s your first home invasion killer POV during a murder. The hammer murder of a prostitute at the beginning sends her teenage daughter (Melody Patterson) to an oppressive orphanage run by the sadistic Gloria Grahame (all of the great 40s divas eventually made their way to cheap horrors at the twilight of their career) who lives off the state contract given for each orphan and works the children extra hard or punishes them even harder. Every man in Blood and Lace is oozing filth as they all try to get their hands on the new teen who talks a big talk about her experience with love. That includes Uncle Leo (Len Lesser) from Seinfeld, and leads to a few sick plot twists, and Oscar-winner Grahame pays pittance for her personal life that excommunicated her from Hollywood—for sleeping with/marrying her teenaged stepson—in a grindhouse movie that would embrace that ickiness.Is this movie great? Nope; but for cheap thrills and grindhouse fans, it’s certainly fun. It straddles 60s exploitation of yore and future 70s horror nasties. You wouldn’t want to be the final girl in this sick scenario. — Brian Formo

The Blackcoat's Daughter

Writer/Director: Oz Perkins

Cast: Kiernan Shipka, Lucy Boynton, Emma Roberts, James Remar, Lauren Holly

Like too many good horror films, The Blackcoat’s Daughter (previously titled February) sat on the shelf for a few years before it finally reached audiences so you may already be familiar with director Oz Perkins from last year’s ambiance-fueled haunted house chiller I Am the Pretty Thing That Lives in the House, despite the fact that The Blackcoat’s Daughter is technically his directorial debut. Perkins shows that same skill for hypnotic dread in his first film, an enigmatic occult drama that conjures a spellbinding, nightmarish thrall of Satanic menace. Amidst the creepy slow-burn and punctuating moments of violence, there’s a melancholy undercurrent of loneliness and remorse that pays off big in the film’s blistering final moments. The Blackcoat’s Daughter is cryptic and methodically paced, but each moment of subdued action preserves inertia for when that final blow arrives, and when it does, though it may not be entirely surprising, it is a searing blow straight to the solar plexus that leaves you reeling. The film’s evasiveness demands patience, but there are moments of brilliance that scratch at the subconscious with a wicked edge, leaving a raw and hollow feeling long after the film has ended.

It Comes at Night

Director: Trey Edward Shults

Writer: Trey Edward Shults

Cast: Joel Edgerton, Carmen Ejogo, Christopher Abbott, Riley Keough, Kelvin Harrison Jr.

It Comes at Night is not a monster movie. It’s not interested in world-building. It’s not interested in easy answers. But that doesn’t mean it’s not a horror movie, and startlingly effective one if you can buy into the film itself instead of the movie the marketing campaign sold you. Set in a threadbare post-apocalypse ravaged by a deadly disease, It Comes at Night follows a family festering in a psychological pit of grief and survivalism when a man in search of water for his wife and child breaks into their safeguarded home and sets their already precarious balance on edge. The threat of death and endless fear lingers over the whole affair with oppressive heaviness and writer-director Trey Edward Shults leans into the horror of human weakness via a lean allegory for the endless cycles of violence we inflict on each other in the name of protecting our own tribe. We’ve seen this all done before—it’s the root of horror classics like Night of the Living Dead and The Thingbut Shults strips the concept down to its bare parts, swapping fantastical effects and creature creations for a faceless all-consuming dread

The Monster

Writer and Director: Bryan Bertino

Cast: Zoe Kazan, Ella Ballentine, Scott Speedman, Aaron Douglas, Christine Edabi

It’s likely inevitable that director Bryan Bertino’s work will forever be associated with his smash-hit directorial debut The Strangers, a dread-inducing first time effort that set the bar high for the young filmmaker. But where 2014’s Mockingbird folded under its own narrative weight, Bertino’s most recent effort The Monster triumphs in its pared down approach to the monster movie. Starring Zoe Kazan (in a career best performance) as Kathy, an inattentive and alcoholic mother to the fragile Lizzy (Ella Ballentine), The Monster wastes little time before setting up its central thrill – broken down on a country road in the middle of the night, Kathy and Lizzy quickly find themselves in the fight of their lives against a sticky black creature that resides in the woods just beyond the edge of the road. A lean and singularly focused monster movie with shades of the matriarchal horror of The Babadook and Lyle, The Monster is skillful proof of Bertino’s impressive talent. — Aubrey Page

The Neon Demon

Director: Nicolas Winding Refn

Writer: Refn, Mary Laws, Polly Stenham

Cast: Elle Fanning, Keanu Reeves, Abbey Lee, Jena Malone, Bella Heathcote, Karl Glusman and Christina Hendricks

Nicholas Winding Refn certainly knows how to make a divisive movie. Like Only God Forgives before it, Refn’s Neon Demon was jeered at Cannes and met with split response from critics and moviegoers alike. That’s not too surprising. It’s explicit and nebulous, and seemingly dedicated to make the audience as uncomfortable as possible as often as possible. It’s also staggeringly beautiful, but leave it to Refn to make a shallow movie about the pitfalls of being shallow. Elle Fanning stars as Jesse, a manipulative underaged monster in the making who has “that thing” everyone wants, and she knows it. Rapidly climbing the ranks of the fashion industry, Jesse believes her own hype and goes full Narcissus, drawing the ire of three experienced industry pros who envy her youth, easy beauty, and immediate success. Along the way, shit gets truly crazy. The Neon Demon‘s got beautiful women basking in blood, it’s got glorious Technicolor visions of cannibalism and self-worship, and it’s got just way too much necrophilia. All the same, it’s a stunning visual accomplishment and it never abandons character in favor of the shock, it embeds them in each other. The Neon Demon may not have a lot to say, but what it does, it says beautifully. — Haleigh Foutch

The Greasy Strangler

Director: Jim Hosking

Writer: Toby Shepherd and Jim Hosking

Cast: Elizabeth De Razzo, Sky Elobar, Michael St. Michaels

Decidedly not for everyone, The Greasy Strangler is a blast, and I’m no bullshit artist. The feature film debut from Jim Hosking has incited a lot of pearl-clutching and gasps of horror since it debuted at Sundance earlier this year, and it’s easy enough to see why — it’s absurd, unapologetic, and indecent by just about every conventional standard, but the beauty of The Greasy Strangler is the fact that it doesn’t care about conventional standards at all. Forget about photoshopping, and narrative guidebooks, and all the little safety boxes that have to be checked off when a film tries to be a four-quadrant picture. The Greasy Strangler feels like Grindhouse incarnate, a midnight movie sprung from the very soul of midnight movies to make you cringe and guffaw and quote one-liners you’ll probably never be able to get out of your head. –Haleigh Foutch

Bone Tomahawk

Writter and Director: S. Craig Zahler

Cast: Kurt Russell, Patrick Wilson, Richard Jenkins, Matthew Fox, David Arquette, Evan Jonigkeit

S. Craig Zahler’s Bone Tomahawk didn’t get the love it deserved when it hit select theaters last year, but I highly recommend catching it now on Amazon Prime, especially if you’re into horror movies and Westerns. The movie stars Kurt RussellPatrick WilsonMatthew Fox and Richard Jenkins as four men who head out into the Wild West to rescue two people who are taken captive by a group of cannibals. It’s an eerie slow burn that builds an overwhelming sense of dread before unleashing an especially savage display of violence and gore. In fact, there’s one scene from Bone Tomahawk that scored a spot on our Best Movie Kills of 2015 list and while it is insanely bloody and brutal, the movie earns the moment thanks to the stellar performances, character-driven narrative and all-consuming atmosphere. – Perri Nemiroff

Green Room

Writer and Director: Jeremy Saulnier

Cast: Anton Yelchin, Alia Shawkat, Imogen Poots, Patrick Stewart

Jeremy Saulnier is an auteur of on-screen violence. He doesn’t glamorize it and he doesn’t exploit it, but neither does he shy away from its consequences, both immediate and far-reaching. And nobody does it quite like him. There’s an inherent stupidity to violence; a needless nastiness and endless potential for human error. Saulnier not only gets it, he knows how to make his audience get it too. Like his first two films Blue Ruin and Murder PartyGreen Room follows our woefully underqualified heroes into bloodshed. This time, it’s a partying punk band that wanders into the thick of Neo-Nazi territory when their planned gig falls through. Led by Imogen PootsAlia Shawkat and Anton Yelchin (whose untimely death still staggers the mind), the young neerdowells are square off against the most militant red laces. Patrick Stewart, cast brilliantly against type, plays their charming leader Darcy with a terrifying calm and calculating confidence, and his no-guns rule means that every kill comes hard and cuts deep. Speaking of deep cuts, that “arm scene” you’ve probably heard so much about is one of the finest demonstrations of that knack for violence I mentioned — a sick-making moment you feel down to your bones that both advances the plot and illuminates character. Green Room’s got the flesh and blood and body count that makes for a good horror film, but it’s also got the heart that makes for a great one. — Haleigh Foutch


Director: Marcin Wrona

Writers: Marcin Wrona and Pawel Maslona

Cast: Itay TiranAgnieszka ZulewskaAndrzej Grabowski

Possession becomes a link to historical reckoning in Marcin Wrona’s unnerving take on the Jewish myth of the dybbuk, a restless, chaotic spirit who takes hold of a living person. Here, the unsteady binds that tie Poland to Europe in the wake of the Holocaust, are reflected in the wedding between a Polish woman and her Londoner groom, which is uprooted when a member of the wedding party begins to lash out in unusual ways, speaking about age-old happenings. Like with the best horror, there is plenty of humor, and the sting of modern capitalistic ruthlessness and the selfishness that often comes with unrequited love are constantly invoked. They feed into the feeling of a powerful but not necessarily malevolent force whose outrage and confusion can turn a gorgeous catered affair into flaming wreckage forged by human frailty and the unvanquishable, blood-drenched crimes that have shaped history. — Chris Cabin

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