Every A24 Horror Movie Ranked from Worst to Best

From midnight oddities to prestige chillers, A24’s horror catalog swings from scrappy debuts to era-defining nightmares. Below is a refreshed countdown that folds in a few missing titles and arranges everything from worst to best using widely reported audience scores. Each entry sticks to concrete details—premise, key cast, and principal creatives—so you can quickly zero in on what to watch next.

‘False Positive’ (2021)

A Manhattan couple turns to an acclaimed fertility specialist whose immaculate bedside manner conceals unsettling methods and motives. Ilana Glazer and Justin Theroux star as Lucy and Adrian, with Pierce Brosnan as Dr. Hindle and Sophia Bush and Zainab Jah in supporting roles. John Lee directs from a screenplay by Lee and Glazer, fusing pregnancy paranoia with medical-gaslighting beats. Production companies include A24 and Divide/Conquer.

‘Slice’ (2018)

In a Midwestern town where ghosts live alongside the living, the murder of a pizza delivery guy kicks off a hunt that tangles with witches, werewolves, and local politics. Zazie Beetz, Chance the Rapper, and Rae Gray lead the ensemble, with Paul Scheer and Joe Keery in comedic turns. Austin Vesely writes and directs, leaning into neon-noir aesthetics and a lore-packed mythology. The film was produced by A24, Get Lifted Film Co., and others.

‘Tusk’ (2014)

A podcaster travels to Canada for a bizarre interview and is trapped by an eccentric seafarer who intends a grotesque transformation. Justin Long headlines with Michael Parks, Haley Joel Osment, and Genesis Rodriguez. Kevin Smith writes and directs, staging a body-horror riff sparked by a viral urban-legend premise. The production was mounted quickly after Smith’s live-show pitch caught fire.

‘The Monster’ (2016)

A mother and daughter are stranded at night on a rural road and besieged by a predatory creature lurking in the treeline. Zoe Kazan and Ella Ballentine play the leads, with Scott Speedman in support. Bryan Bertino (writer-director of ‘The Strangers’) crafts a compact survival story driven by practical creature effects and rain-soaked atmosphere. The film was produced by A24 and Atlas Independent.

‘Life After Beth’ (2014)

A grieving boyfriend is stunned when his deceased girlfriend returns—alive, affectionate, and increasingly undead. Dane DeHaan and Aubrey Plaza star, joined by John C. Reilly, Molly Shannon, and Anna Kendrick. Jeff Baena writes and directs, blending suburban romance, parental denial, and escalating zombie hijinks. Principal photography took place in Los Angeles.

‘The Hole in the Ground’ (2019)

After moving to rural Ireland, a single mother suspects the boy in her home is not her son following a strange incident near a forest sinkhole. Seána Kerslake and James Quinn Markey star under director Lee Cronin. The film leans on folklore-infused paranoia, with DP Tom Comerford emphasizing shadowed interiors and night forests. It premiered at Sundance before rolling out in the U.S.

‘The Blackcoat’s Daughter’ (2017)

Two students are left behind at a Catholic boarding school during winter break as a third young woman makes a bleak journey toward them. Kiernan Shipka, Lucy Boynton, and Emma Roberts topline the cast. Oz Perkins writes and directs, interlacing timelines around possession, isolation, and ritual. The project filmed in Ontario and toured festivals before wider release.

‘In Fabric’ (2019)

A cursed red dress passes through multiple owners, bringing misfortune and death via a department store with uncanny rituals. Marianne Jean-Baptiste, Hayley Squires, Leo Bill, and Gwendoline Christie appear in an ensemble driven by giallo textures. Peter Strickland writes and directs, weaving dream-logic humor, late-night TV ad spoofs, and analogue soundscapes. Costume and production design play a central role in the film’s haunt.

‘Bodies Bodies Bodies’ (2022)

A hurricane party at a remote mansion turns lethal when a social deduction game bleeds into real accusations and panic. Amandla Stenberg, Maria Bakalova, Rachel Sennott, Myha’la, and Lee Pace form the core ensemble. Halina Reijn directs from a screenplay by Sarah DeLappe, based on a story by Kristen Roupenian. The shoot emphasized handheld camerawork and strobe-lit blackout sequences.

‘It Comes at Night’ (2017)

Two families share a secluded house after a contagion ravages society, enforcing strict rules that crumble under suspicion. Joel Edgerton, Carmen Ejogo, Christopher Abbott, Kelvin Harrison Jr., and Riley Keough star. Trey Edward Shults writes and directs, using minimal outside views and natural-light interiors to heighten ambiguity. The production was largely contained to a single woodland location.

‘Men’ (2022)

Seeking solitude after a personal loss, a woman rents a country house and encounters townsmen who all bear a disturbingly similar face. Jessie Buckley leads opposite Rory Kinnear in multiple roles. Alex Garland writes and directs, incorporating folklore imagery and experimental prosthetics. The score and sound design accentuate echoes, tunnels, and body horror.

‘Lamb’ (2021)

On an isolated Icelandic farm, a couple discovers an unusual newborn in their sheepfold and decides to raise it as their child. Noomi Rapace and Hilmir Snær Guðnason star, with Valdimar Jóhannsson directing from a script with Sjón. The production shot in remote highlands, leaning on sparse dialogue and pastoral unease. Practical and VFX work combine for the film’s hybrid being.

‘The Eternal Daughter’ (2022)

An artist takes her mother to a nearly empty countryside hotel where memories and hauntings intermingle. Tilda Swinton performs dual roles under writer-director Joanna Hogg. The film adopts a classic gothic framework—fogbound grounds, long corridors, and withheld histories—within a compact cast. Night shoots and practical atmospherics define the visual palette.

‘I Saw the TV Glow’ (2024)

Two suburban teens bond over a late-night supernatural series whose mythology seeps into their adult lives. Justice Smith and Brigette Lundy-Paine star, with Helena Howard and Danielle Deadwyler in key roles. Jane Schoenbrun writes and directs, pairing liminal high-school spaces with analog-era TV textures. Music supervision and needle drops are central to the film’s mood.

‘X’ (2022)

A small film crew rents a Texas farmhouse in 1979 to shoot an adult movie, drawing the lethal attention of their elderly hosts. Mia Goth headlines with Jenna Ortega, Brittany Snow, and Kid Cudi. Ti West writes and directs, reviving grindhouse aesthetics with period lenses, split diopters, and editorial flourishes. The production kicked off a connected trilogy.

‘Saint Maud’ (2019)

A newly devout hospice nurse fixates on saving a terminal patient’s soul, interpreting physical sensations as divine messages. Morfydd Clark plays Maud opposite Jennifer Ehle. Rose Glass writes and directs, shooting in coastal England with expressive close-ups and subjective sound design. The film explores isolation, martyrdom, and the peril of private revelations.

‘Enemy’ (2014)

A quiet professor becomes obsessed with tracking down his exact double after spotting him in a movie. Jake Gyllenhaal performs dual roles, with Mélanie Laurent and Sarah Gadon in support. Denis Villeneuve directs, adapting José Saramago’s novel with a slow-burn, spider-laced psychological approach. The Toronto-set production uses ochre grading and recurring symbols to frame identity slippage.

‘Climax’ (2018)

A dance troupe’s after-rehearsal party devolves into a chemically induced nightmare after the punch is spiked. Sofia Boutella leads an ensemble of dancers under director Gaspar Noé. Long takes, overhead frames, and diegetic music push the story toward ritualistic horror without traditional monsters. Choreography and sound mixing drive the escalating chaos.

‘Green Room’ (2015)

A touring punk band witnesses a crime at a remote skinhead venue and must barricade themselves inside to survive. Anton Yelchin, Imogen Poots, Alia Shawkat, and Patrick Stewart star. Jeremy Saulnier writes and directs, staging practical gore, improvised weapons, and tight geography. The film marries siege-thriller mechanics with feral intensity.

‘The Killing of a Sacred Deer’ (2017)

A renowned surgeon’s domestic life collapses when a teenager he has taken under his wing exerts a chilling influence over his family. Colin Farrell, Nicole Kidman, and Barry Keoghan star. Yorgos Lanthimos directs from a script with Efthimis Filippou, infusing clinical framing and mythic structure. The Cincinnati-area shoot favors sterile spaces and precise blocking.

‘MaXXXine’ (2024)

Set in 1980s Los Angeles, a determined actress claws for stardom amid a string of grisly “Night Stalker”-era murders and industry exploitation. Mia Goth reprises her role, joined by Elizabeth Debicki, Kevin Bacon, and Halsey. Ti West directs, extending the trilogy’s concerns into neon-noir Hollywood with studio backlots and VHS-age texture. The production features elaborate setpieces and practical effects.

‘Talk to Me’ (2023)

Friends use an embalmed hand to summon spirits for viral thrills, unleashing possession that bleeds into real life. Sophie Wilde, Joe Bird, Alexandra Jensen, Otis Dhanji, and Miranda Otto appear. Danny and Michael Philippou direct, emphasizing in-camera tricks, makeup, and brisk party-to-horror escalations. The concept seeded a fast-moving expansion of its mythology.

‘The Witch’ (2015)

In 1630s New England, a banished Puritan family grapples with isolation, fear, and a malign presence beyond their farm. Anya Taylor-Joy leads alongside Ralph Ineson and Kate Dickie. Robert Eggers writes and directs, with period-authentic dialogue, natural light, and historical detail defining the production. Goat wrangling, practical props, and woodland staging reinforce the folk-horror setting.

‘Midsommar’ (2019)

A grieving woman accompanies friends to a remote Swedish commune for a midsummer festival that conceals ritual violence. Florence Pugh, Jack Reynor, William Jackson Harper, and Will Poulter star. Ari Aster writes and directs, flipping night-terror conventions into sun-blasted dread with ornate costuming and runic art direction. An extended cut further explores character fractures and communal pageantry.

‘Under the Skin’ (2013)

An otherworldly woman cruises Scotland, luring men into an abstract void while gradually absorbing human behaviors. Scarlett Johansson headlines, with non-actors woven into hidden-camera encounters. Jonathan Glazer directs, blending experimental visuals, minimal dialogue, and Mica Levi’s striking score. Location work in Glasgow and the Highlands underpins the film’s eerie realism.

‘Pearl’ (2022)

On a 1918 farm, a young woman’s dreams of stardom curdle into violence as isolation and illness close in. Mia Goth stars, co-writing with director Ti West. The movie adopts saturated, Golden Age-style visuals—irises, wipes, and theatrical staging—to counterpoint escalating horror. Elaborate monologues and classic studio trappings define its look.

‘The Lighthouse’ (2019)

Two lighthouse keepers weather storms, isolation, and mounting delusion on a desolate rock in the 1890s. Willem Dafoe and Robert Pattinson star under director Robert Eggers. Shot on near-square 35mm black-and-white with vintage lenses, the film leans on maritime folklore and period dialect. Hand-built sets and practical effects drive its tactile, wind-lashed world.

‘Hereditary’ (2018)

After a family matriarch dies, her daughter uncovers a web of occult manipulation that threatens her children. Toni Collette, Alex Wolff, Milly Shapiro, and Gabriel Byrne star. Ari Aster writes and directs, orchestrating miniatures, precision sound design, and practical effects toward a notorious climax. The production shot primarily in Utah, with detailed model-work integral to the visuals.

Share your personal A24 horror order below—what did we overlook, and which picks would you move up or down?