is the horror director behind flicks like , , and . He's found success with his more accessible brand of horror, which is straightforward yet draws on weirder, more obscure inspirations. While not all of his projects are fantastic ( was brilliant; was a bit over-the-top), he clearly knows his stuff when it comes to horror. Flanagan also writes many reviews on Letterboxd, making him a great source for spooky recommendations.

, ranging from subtle horror to brutal gore-fests. His reviews can also help to shed light on a particular movie and add to the viewer's enjoyment of it. With this in mind, . His favorites are bound to include something for almost every kind of horror fan.

"Do you think we’re the first ones to see this?" This sci-fi/horror/comedy hybrid centers on neighbors John () and Levi (), who discover supernatural occurrences in their Los Angeles apartment building. Determined to document these events, they embark on a project that blurs the line between reality and the inexplicable.What follows is

was conceptualized back in 2020 during the COVID lockdowns, and its exploration of paranoia and amateur investigation is a vivid throwback to that time. The director/stars turn these ideas into an engaging movie, rising above its micro-budget trappings. The gritty, lo-fi aesthetic adds to the story rather than detracting from it. "[Benson and Moorehead's] particular gift for cerebral cosmic horror rooted in complex characters shines bright in this effort, which is as exhilarating and fascinating as it is ultimately haunting," Flanagan wrote in his Letterboxd review of the film.

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"I feel like something bad is going to happen to me. I feel like something bad has happened. It hasn't reached me yet, but it's on its way." An unusually meditative horror movie, this mockumentary follows the Palmer family after the tragic drowning of sixteen-year-old Alice () during a family outing. As her grieving parents and brother try to come to terms with her loss, they begin to experience inexplicable phenomena at their home.

eschews action, gore, and traditional frights for reverie, believable performances, and a clear-eyed study of grief. Other than one chilling jump scare, the story "The horror of Lake Mungo is quiet, but as the emotional truth of Alice's tragedy sinks in, we are left utterly shattered," Flanagan wrote. "I don’t know that any other film has haunted me like this one does or has more profound truths to share about grief."

"This one gets under the skin." is another ingenious low-budget movie that uses its limited cast and locations to wonderful effect. The story chronicles the aftermath of Dani's () murder by an intruder. Dani's sister, Dary (also played by Bracken), a blind psychic, sets out to bring her killer to justice, marshaling magical powers against human evil. From here,, cramming a lot of killer ideas into its lean 98 minutes.

Oddity is a potent fusion of gothic horror and modern minimalism. The direction is creepily stellar throughout, most notably in the fantastic opening scene (in which a crazed-looking man warns Dani that someone has snuck into her house) and the closing one (where an unassuming object from the first act makes a brilliant reappearance). "Absolutely excellent. [Director] 's engrossing, terrifying followup to his atmospheric and chilling is a masterclass in dread, atmosphere, and tension," Flanagan wrote.

"I’ve done bad things." Set in an Iranian ghost town, A Girl Walks Home Alone at Night revolves around a lonely vampire () who preys on men who disrespect women. Her nocturnal existence intersects with that of Arash (Arash Marandi), a young man burdened by his father's addiction. The result is a unique film , alongside social commentary about a country that's rarely explored in genre cinema.

Director (in her feature debut) confidently draws on both pulpy and arthouse sensibilities. The characters are three-dimensional, and the stark black-and-white cinematography enhances the eerie atmosphere that surrounds them. Visually, cinematographer channels and . It adds up to one of the most striking vampire movies of the 2010s. "If you haven’t seen it, I’m jealous… you’re in for an unforgettable treat," Flanagan said of the film.

"There is nothing to be afraid of." This psychological horror begins innocuously enough, with Will () attending a dinner party hosted by his ex-wife, Eden (), and her new husband. Bu As the evening progresses, Will becomes increasingly suspicious of the hosts' intentions, suspecting that they have sinister plans for their guests. From here,, the confined setting amplifying the sense of unease.

The remarkable harks back to older "dinner party from hell" movies but adds a barbed and . The horrors, when they finally come, are a lot more grounded and human than one generally gets with this subgenre. "The last harrowing moments are something to behold, but it’s the final moment of the film — as quiet and simple as any I’ve seen — that carries with it an implication of true horror," Flanagan said.

"In disturbing the rest of the dead, we awaken the wrath of the past." is a South Korean horror film that delves into the supernatural consequences of unearthing a cursed grave. At the center are renowned shaman Hwa-rim () and her protégé Bong-gil (). They are enlisted by a wealthy family to relocate a grave and lift a curse.

are at a premium here. While there are genre elements at play, , exploring not just real Korean shamanism but the lingering trauma of the Japanese occupation. These ideas resonated in its home country, with Exhuma quickly becoming one of the highest-grossing South Korean movies of all time. "Smart writing, good performances, and some terrific effects elevate this ghost story into something far more modern and original than I expected," Flanagan said.

"Only demons should fear me. You’re not a demon, are you?" opens with Fenton Meiks () confessing to an FBI agent about his late father's () delusional mission from God to destroy demons living among humans. Through flashbacks, the film reveals the disturbing upbringing of Fenton and his brother, Adam, as they are forced to assist their father in his divine crusade.

The film uses this premise to , with the plot pivoting in unexpected directions. It's a brutal study of the evil people can do while convinced of their goodness. The scares may not be grand or groundbreaking, but the moral ambiguity and complex characters are refreshing for the genre. Everything is anchored by McConaughey's intense, committed performance. "The story is interesting, the performances are great, and it highlights Paxton's strengths both in front and behind the camera," Flanagan wrote of it.

"Have you ever thought about who you really are?" One of the lesser-known entries in the late '90s J-horror wave, features as Detective Takabe, who investigates a series of murders where the killers claim to have no recollection of their crimes. The link between the cases is a mysterious drifter, Mamiya (), whose apparent hypnotic influence over his victims triggers unsettling questions about free will.

The movie has the structure of a murder mystery but dives deeper with its themes, serving up . There are so many symbols and ideas on offer here, most of them open to endless interpretation. . "I've seen this half a dozen times in my life, and each time have felt like it was me who was hypnotized," Flanagan wrote. Bong Joon-ho is also a fan, naming it among the movies that "have had the biggest impact on [his] own personal view of cinema."

"If I touch a life, it’s mine." Set in 19th-century Macedonia, follows a young girl, Nevena (), who is transformed into a witch by a mystical old woman known as Old Maid Maria (). Nevena struggles with her newfound powers, taking on various human forms and experiencing life through the eyes of others. These incarnations of her are played by several actors, including .

, boasting an ethereal score and breathtaking visuals. The landscapes, in particular, are striking, immersive, and sometimes otherworldly. All this artistry is in service of surprisingly ; You Won't Be Alone is like on ayahuasca. For all these reasons, it won't be everyone's cup of tea, but the right kind of viewer is bound to respond to it. "As close to a horror film as we may ever get," Flanagan wrote. "Wonderful performances, beautiful cinematography, and a phenomenal concept."

"I can’t exist by myself because I’m afraid of myself." is a visceral examination of a disintegrating marriage set against the backdrop of Cold War-era Berlin. Sam Neil and Isabelle Adjani lead the cast as Mark and Anna, whose relationship unravels when Anna reveals she is having an affair. As Mark digs deeper, he discovers Anna’s disturbing secret: she is harboring a grotesque, otherworldly entity in her apartment.

This is Scenes from a Marriage meets The Thing. The movie has a bizarro nightmare logic, which hits all the harder because of the believable lead performances. Critics were lukewarm at first, clearly finding it all to be a bit too much, but Possession went on to develop a cult following and has since been ranked among the greatest horrors of all time. "Zulawski's visceral, unclassifiable exploration of love and divorce plays like an actual fever dream, and Isabelle Adjani is nothing short of stunning in the role," Flanagan wrote.

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