Picture the scene: You're having a great time with an old friend, and then all of a sudden, you're struck by that sinking feeling in the pit of your stomach when the absolute worst thing imaginable happens. If you like your scares with a hint of the gothic to them and are more intrigued by the darkness that lingers inside of people rather than the boogeyman, this is for you. Unlike other King adaptations, that boast flashy villains and shocking twists, this is old-school horror. Wilf, a rancher at heart, is reviled by her plans, so opts for the only remaining choice: he plots to kill her. After inheriting a large plot of land, her plan is to sell it so they can move to the city with their son. Things open on farmer Wilf James (Thomas Jane) as he struggles to deal with his wife Arlette's (Molly Parker) aspirations. Another King adaptation, this Netflix Original hails from director Zak Hilditch, who opts for the long, steady-paced tale. Is there such a thing as the perfect murder? While 1922 doesn't strictly dabble with that query, it does dive into the next best thing: what guilt does to a man after committing one. Need further convincing? Craig also directed the stellar slasher comedy Tucker and Dale Vs. Farrow being a brazen nod to Rosemary’s Baby for one) on the meta altar, there’s plenty of genre winks to score Little Evil points with fans. With a slew of recognisable horror moments nabbed and skewered (Dr. It makes it onto the best horror movies on Netflix list because it's a great riff on the exhausted supernatural child subgenre, that mixes up the typical "devil incarnate" trope with some fresher, less tired ideas (queer representation that’s not derivative). Parenthood gets utterly skewered as Adam Scott’s everyman Gary meets and marries the woman of his dreams, Samantha (Evangeline Lilly), only to discover he’s stepdad to the antichrist. The nightmarish concept of raising a hell-spawn receives a much-needed shakeup in Eli Craig’s horror-comedy Little Evil. Little Evilįilms like The Omen and Orphan have taught us that having a kid in a horror movie typically doesn't end well. While its overly-stylized screen pop-ups might appear needy, they're not enough to detract from the popcorn frivolousness. In the lead as the world's best babysitter, it's her turn that cements the pic as a playful riff on horrors past whether she's debating the merits of horror icons with tween scamp Cole or figuring out how to achieve the life she truly desires. That's in part to the breezy cool exuded by Ready or Not's Samara Weaving. From the neon-drenched palette of its marketing, it’s clear that this isn’t your typical blood-soaked trip to suburbia. McG's The Babysitter twists this expectation, in perhaps its sole subversion that we shan't spoil here, to elevate this Netflix Original from what could easily have been a so-so slasher. Whether they're being stalked, stabbed, or taunted over the phone, it's seldom what you'd dub a "fun gig" for them. Babysitters in horror tend to get the short shrift.
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