Editorials
6 Hidden Horror Netflix Gems to Stream Now!
Promoting new releases isn’t always Netflix’s strong suit. Take the recent Get In, for example. Without any fanfare at all, the streaming giant quietly released the violent thriller at the beginning of May. Though Netflix is quickly being overshadowed by streaming services like Shudder, Tubi, and Prime Video in terms of the sheer volume of titles, it’s still a boon of titles for the horror fan. Especially on an international level. Netflix’s algorithm and layout take care to help you find titles you might be interested in, even when they don’t market those titles well, but perhaps it takes its categorization a little too far. That can mean it’s easy to overlook some great titles, especially the genre-benders and outliers that aren’t so easily definable.
These six titles tend to escape notice for various reasons, but all make for excellent viewing for those looking for something outside of mainstream appeal.
Calibre
The moment Stephen King tweeted about this Netflix gem two summers ago, it stopped being quite so hidden. Still, that it’s categorized outside of horror means it’s not as easy to stumble across for those perusing the genre, and it’s very much worth it for the horror fan. A Scottish thriller that sees a horrific accident turn a weekend hunting trip into a nail-biting descent into paranoia for old friends Marcus and Vaughn, Calibre is a compelling and well-executed tale of suspense. The suspense of this grisly story cannot be understated. The palpable tension and brutal moments put this on the outskirts of the genre, making it a very worthwhile watch.
Super Dark Times
Teenagers Zach (Owen Campbell) and Josh (Charlie Tahan) have been best friends for pretty much their whole life, having grown up together in the suburbs. Set in the ‘90s, an era before the Columbine High School massacre, Zach and Josh’s friendship will never be the same when tragedy strikes. The once inseparable pair take vastly different approaches to cope in the wake of the event, sending both reeling toward a darker, disturbing chain of events that will change them forever. The coming-of-age story gets an alarming, psychological horror-thriller facelift here. Super Dark Times lives up to its title, with powerful performances by its leads. While it’s more in the vein of Mean Creek, look for influences of Donnie Darko to pervade.
The Bar
Álex de la Iglesia’s The Bar is a bizarre blend of tones and genres that only this director could make work. What begins as a bustling morning in a downtown bar/café, introducing us to all the eccentric characters, turns into a harrowing thriller when a mysterious sniper outside keeps them trapped within. These friendly strangers then turn on each other as paranoia sets in, and it becomes clear that they’re under quarantine. De la Iglesia’s brand of dark comedy gets pitch black as he dissects humanity faced with death, and throws in body horror for good measure. This isn’t for everyone; the characters expose their ugliest impulses the darker things get. It’s a mean spirited, demented horror-comedy.
For more on Iglesia’s films and where to stream them, I’ve covered it here.
Girls with Balls
An all-girls volleyball team finds themselves hunted by back wooded locals when their van breaks down in the middle of nowhere. Yet, the hunters soon discover they might have bitten off more than they can chew with this resourceful group. Catty high school girls versus a backwoods hillbilly cult; it’s a gender brawl of the bloodiest variety. Girls with Balls is so unapologetically goofy that it’ll be off-putting for some. It doesn’t take itself seriously in the least. For those that like their gore with a heaping helping of irreverence, though, it’s a fun one. The film marks the directorial debut by Olivier Alfonso, a notable special makeup effects artist who’d previously worked on Raw, Leatherface, Among the Living, and more. So, you know he applies his expertise on viscera here.
Inhuman Kiss
Also known as Krasue: Inhuman Kiss, this film was submitted as the Thai entry for the Best International Feature Film at the 92nd Academy Awards. Set in rural Thailand in the 1940s, this supernatural tale tells of a coming-of-age love story among three childhood friends. Friends Noi and Jerd are vying for the affections of Sai, who has her own problems when the onset of puberty transforms her into a Krasue. Every night, the demon takes over, detaching her head from her body and using the dangling entrails to capture and feast upon both livestock and humans alike. The boys band together to protect Sai from terrified villagers looking to stop the Krasue at any cost. Inhuman Kiss does run a bit overlong and has a measured pace, but it builds into an insane climax. Inhuman Kiss is ultimately a supernatural coming of age tale meets supremely bloody teen love story.
When Angels Sleep
This Spanish thriller plays like a distant spiritual relative of Eden Lake. When Angels Sleep doesn’t get anywhere close to Eden Lake’s graphic torture and brutality, but there’s an unrelenting bleakness that gets worse as the night wears on for its characters. As for the plot, a CEO away on a business trip is desperate to make it home to his angry wife after missing their daughter’s birthday party, which results in him falling asleep at the wheel late at night. He accidentally runs over a teenage girl, and his subsequent interaction with her horrified friend puts the two on a path to destruction. Actions have consequences, and every wrong decision adds to the domino effect. That the leads continue to make the worst possible choice at every turn will frustrate some, but it’s also the point. Expect this psychological thriller to get devastatingly bleak.
Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.
For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!
That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.
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