Now Scream This: 10 More Great Horror Movies Streaming Right Now

(Welcome to Now Scream This, a column where horror experts Chris Evangelista and Matt Donato tell you what scary, spooky, and spine-tingling movies are streaming and where you can watch them.)Matt: Since this is a streaming horror column, it's hard not to tumble into a Shudder recommendation pattern. There have been times where "Now Scream This" favored mainstream streamers or even free streamers, but I took it upon myself to explore another Tubi appreciation entry. Quietly, without paywalls, Tubi continues to amass a collection of horror titles that rivals, or in some cases overshadows  the competition thanks to a vastly more expansive and eclectic catalog. We're here to expand your horizons, whether that's selections or providers. Not every "What to watch?" answer can be found on Netflix, Hulu, or Amazon Prime.Chris: Matt did not make me aware of his plan to include only Tubi movies for his choices, so I'm caught off guard here! Had he told me, I might've said, "Tubi, or not Tubi?" But seriously, folks, while Matt's picks this week have some sort of loose theme (they're all on Tubi!), mine do not. I guess it's because I'm such a rebel; a bad boy, if you will. And I guess that means Matt is a square. That's how it goes, daddy-o! Now excuse me while I hop onto my motorcycle and ride on down to the juke joint for an egg cream. 

Matt: With Psycho Goreman on the mind, tying back to Aston-6, may I recommend Adam Brooks and Matthew Kennedy's The Editor? Those of you lucky enough to catch Censor at Sundance might consider this the satirical, comedy-first take on similar setups (the same goes for Berberian Sound Studio). The "greatest editor in the world" loses his hand in a freak accident and now must cut trashy pulp cinema with his wooden replacement, and while slicing his latest project, is accused of murder after the lead actress is found dead. It's bonkers, filled with filmmaking meta-humor, and is a rather ridiculous yet righteous Giallo homage. One that grew on me after its festival run, as commentary and spoofability get sloppy-silly under horror's crimson faucet.Chris: This is so much fun; just stylish and funny and full of great gags. I love me some Astron-6. 

Matt: Tubi gets a bad rap for promoting Walmart dollar bin titles like Werewolf Island or Ouija Shark, but there are legitimate overnight sensations and festival darlings like It Follows available. David Robert Mitchell's experiment in hopelessness and one-step-behind suspense admirably intensifies from its body-pretzel open to final lurching paces forward. Alongside The Guest, It Follows made Maika Monroe's name common in horror-focused households as Mitchell's narrative may or may not be a metaphor for sexually transmitted diseases. Perhaps it's just symbolism about the unending existential dread that will follow us to our final resting place? In any case, critics (including myself) lauded It Follows with heaps of praise you can now either justify or bemoan from the comfort of your couch without breaking the bank. Can you really outrun...blah blah blah just watch and experience for yourself!Chris: I remember when It Follows came out, and everyone was raving over it. "I gotta see this for myself!" I said. The end result: I really liked this movie until the last twenty minutes, at which point I felt like it completely went off the rails. Still, everything before that is fucking solid. 

Matt: Chris and I welcomed 2021 with a list of picks that we made our New Year's Resolutions, and on that list sat the Dowdle Brothers' The Poughkeepsie Tapes. Thanks to another episode of my podcast Certified Forgotten (which Chris still needs to guest on), I scratched this off my hit list with haste. As the son of a detective who investigated, tracked, and brought a New Jersey serial killer to justice (true story), and proud found footage appreciator, I find The Poughkeepsie Tapes is evil that nails so many true crime aspects uncomfortably well. "But the talking head acting is hokey." Have you ever watched a History Channel docuseries and the specialists enlisted to speak about the topics on hand intelligently? The Dowdles' presentation is awkwardly natural, psychopathically unhinged, and criminally repulsive concerning the smallest details. A nerve-shredding example of what found footage and "mockumentary" filmmaking conveys best.Chris: I'm not sure what the consensus is on The Poughkeepsie Tapes these days, but I think it works exceptionally well. Some of the interview subjects are a little wooden and give away that this is all BS, but there are a series of genuinely disturbing moments in this film that have stuck with me ever since I saw it. 

Matt: Yes, Adam Wingard and Simon Barrett's Blair Witch. As revealed above, my soft spot for found footage is squishier than melted brie. For all the ways that The Blair Witch Project shocked audiences with horrific witchcraft footage in isolated woodlands, Blair Witch attempts the same with a modern bend. Stickman ornaments once again dangle, the signs point towards another altercation with an urban legend, and then the third act manifests a wickedly upsetting haunted house finale. As the camera jostles and reveals a gangly cryptid thumping its strides not far behind, it's pure, adrenaline-excitement horror. Not many critics agree, but that's unfortunate. Found footage horror is always one of the most challenging subgenre sells, doubly so when creators tie to a beloved original or franchise. In my mind, the hate here is misguided and preconceived.Chris: I was so excited for this bad boy when it arrived. I love The Blair Witch Project, and I have respect for Book of Shadows: Blair Witch. On top of that, I've enjoyed much of Adam Wingard's work. So the idea of having him make a new Blair Witch sequel was pretty damn exciting. Alas, I found this entire movie a bit of a bust. It adds nothing new to the mythology and none of the gritty, grainy realness of the original film comes through. Everyone feels like they're playing dress up. 

Matt: With The Vigil now on digital (SEE IT), I wanted to highlight an underseen Jewish horror film. Doron Paz and Yoav Paz's The Golem turns back the clock on a bit of mysticism that summons protection in the form of the title's entity. Gentiles battle contamination, a Jewish village fights off invaders, and farmland justice becomes supernatural. Details gear towards old-country generations—plague doctor getups, plagues, Kabbalah texts—but it's deceptively tense despite the minimal landscape. Call upon devils to do your dirty work, and they'll get the job done, but consequences are part of the pact. The Golem is a tale bound to unique Israeli experiences that's still understood by mass viewership, not to be ignored as Jewish-forward horror.Chris: Ah, shit, here I thought this was going to be the first Now Scream This in a while where I've actually seen all of Matt's picks. Nope. Guess I better start watching Tubi... 

Chris: A slow-burning, ultra-creepy twist on the possession formula, The Dark and The Wicked is best watched in the dead of night, with all the lights turned down. Directed by Bryan Bertino (The Strangers), The Dark and the Wicked finds siblings Louise (Marin Ireland) and Michael (Michael Abbott Jr.) returning to their family farm when their father takes ill. They come home to help their mother (Julie Oliver-Touchstone), but for reasons they can't understand, she doesn't want them there. In fact, she seems downright hostile towards them. Things only get worse from there as it becomes clear that all is not right in the house. As he did with The Strangers, Bertino builds up the tension to extreme, uncomfortable levels, playing hell with your nerves in the process. Matt: One of the better horror films in 2020, no doubt. Bill this one with Relic and Sator to explore how recent filmmakers are keeping the tragedy and trauma of Hereditary alive.

Chris: Ken Russell's 1971 cult classic The Devils is back on Shudder, which means if you missed it before, you better watch it not. Or just rewatch it. Inspired by true events, The Devils is a bombastic blast of sacrilege and sex. Oliver Reed is Father Urbain Grandier, a very horny priest who holds sway over the French town of Loudun in the 17th century. Things in Loudun go off the rails when sexually repressed nun Sister Jeanne (Vanessa Redgrave) accuses Grandier of witchcraft, resulting in full-blown hysteria throughout the town. Full of bold, unique, anachronistic production design and a raw, primal energy that's at times overwhelming, The Devils is unique and unforgettable. Matt: The Twittersphere is all abuzz with talk of The Devils, and it's apparently the "right" cut, so looks like my Shudder night is set?

Chris: One of the best Stephen King adaptations is also one that doesn't get brought up nearly enough. It's Dolores Claiborne, the other King adaptation featuring Kathy Bates. Bates plays the titular character, a lifelong house servant living on the Maine coast who is suddenly in deep trouble when her wealthy and much-hated employer dies and it looks like Dolores killed her. The situation brings Dolores's estranged and emotionally damaged daughter Selena (Jennifer Jason Leigh) back home, where bad memories of her childhood – and her dead father, Joe (David Strathairn), come back to haunt her. Everyone in town thinks Dolores killed Joe many years ago, especially a local detective (the late, great Christopher Plummer), who is determined to not let Dolores get away with murder a second time. But there's more to the story than meets the eye, and it unfolds with cold, methodical precision.  Matt: Don't know her, so I'll have to trust Chris.

Chris: Is it controversial to say I like The Conjuring 2 more than the first film? I dunno! But I do. To be clear: I'm a fan of both films and I look forward to the upcoming third, but the sequel feels more confident; more sure of what it wants to do, and say. Once again, married ghost hunters  Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga) are called in to help a family tormented by the supernatural. This latest case takes them to the UK, where a house in the London suburb of Enfield is under siege by all sorts of ghoulies and ghosties. Meanwhile, Lorraine is haunted by a vision of a terrifying nun who may or may not have something to do with what's going on here. Once again, the power in these films comes from the believability of Wilson and Farmiga as the ghost-hunting Warrens. The real Warrens were almost surely frauds, but the Warrens in these movies are loving, caring people who love the hell out of each other and want very much to help everyone they can. Farmiga in particular is great, making Lorraine feel like a real person and not just a character in a ghost story. Matt: Psh everyone knows sequels are never better than their originals so why even LOL JK I adore The Conjuring 2 and think it's as good if not better than Wan's original.

Chris: There's a lot of talk about what could be considered a "peak Nicolas Cage" performance. That is, a the craziest performance possible from an actor who has mastered the art of acting pretty damn crazy. I'm sure everyone has their own pick, and mine would be Vampire's Kiss, which has Cage acting so unhinged and bizarre that it's often uncomfortable to watch. You get the sense that the entire crew working off the film is just off camera with horrified or confused looks on their faces. Cage plays Peter Loew, a literary agent who behaves more like a Wall Street yuppie (I'm almost positive Bret Easton Ellis based Patrick Bateman in American Psycho on Cage's character here, at least partially). One night, Peter ends up in a club where he meets a beautiful woman, played by Jennifer Beals. They go back to his apartment and then – surprise! – she reveals she's a vampire and bites his neck. Maybe. Vampire's Kiss plays fast and loose with reality, and we're left wondering: is any of this happening, or is Peter just going out of his fucking mind? In any case, Peter becomes convinced he's a vampire now, too, and now he has to deal with that. Matt: "I'm a Vampire!!! I'm a Vampire!!"