The 2020s have brought a refreshing wave of innovative horror films that have pushed boundaries. Films like Talk to Me, Longlegs, and Sinners have seen critical and box office success, while also becoming instant favorites. However, there’s a whole goldmine of underrated horror movies that also deserve to be widely loved. They may not have gotten mainstream notice or their due praise, but their distinctive storytelling, rich atmospheres, and thought-provoking ideas earn them a place among the greatest genre entries of the decade.
Some of them even have all the makings of a future cult classic. These movies are bold in experimentation, explore unique narratives, and are niche in style and themes. They might be too bizarre, too quirky, or not as well-known, but this is precisely what guarantees that they will develop an influence on subcultures within the horror community over time.
The 10 horror movies on this list are bound to draw more attention and to be remembered by fans for years to come.
‘The Mortuary Collection’ (2020)
Clancy Brown plays Montgomery Dark, an eccentric mortician who manages the mortuary at Raven’s End, a small island town. A mysterious young woman named Sam (Caitlin Custer) arrives one day and asks about his “Help Wanted” sign. As he interviews her, he tells her a series of scary stories about those who have died strange deaths in Raven’s End. The horror anthology serves up a variety of twist-filled, macabre tales to enjoy, showcasing monstrosities and the worst of human nature.
A Series of Bizarre and Eerie Vignettes
Released on Shudder in 2020, the movie has been slowly making waves over the years. While The Mortuary Collection hasn’t gotten the widespread attention it deserves, it carries a unique charm genre fans will appreciate, blending that dark with of Tale From the Crypt with a sense of eerie atmosphere that recalls classic horror storytelling. The movie has all the perfect ingredients to be rediscovered as both a cult classic and a Halloween staple over time.
‘Possessor’ (2020)
Written and directed by Brandon Cronenberg, Possessor stars Andrea Riseborough as Tasya Vos, an elite corporate assassin. She employs a brain implant technology that inserts her consciousness into other people’s minds and allows her to take control of their bodies to carry out the assassinations on her targets. Her next assignment proves to be complicated, and as Tasya struggles to maintain control of her host (Christopher Abbott), identity and reality begin to blur.
A Wildly Innovative Sci-Fi Horror
Possessor is one of the most captivating sci-fi horrors in recent years. Despite doing well critically, the movie failed to make a splash among audiences, flying under the radar and remaining a hidden gem. Like in Infinity Pool, it delivers provocative visuals and hallucinatory imagery. The film delivers a dark, psychological exploration of bodily autonomy, the toll of violence, identity, and capitalism. It may not have achieved mainstream success, but with the years, it will become a cult classic among fans of cerebral body horror and science fiction.
‘Malignant’ (2021)
Malignant is directed by James Wan, the mastermind behind Insidious and The Conjuring. With Malignant, the filmmaker takes a bold departure from his usual supernatural flair. The story centers on Madison (Annabelle Wallis), a woman plagued by nightmares of real, grisly murders. As her visions become increasingly violent, and she sets out to unmask the culprit, she discovers a terrifying connection between herself and the killer. What starts out as a conventional horror, twists into a wild, genre-bending film in its third act.
A Film That’s Aware Of How Over-the-Top It Is
Initially divisive, reception for Malignant was mixed, but it’s a picture that demands to be seen more than once. Slowly, viewers are recognizing it for the underrated horror film it is. The movie’s surreal, giallo-inspired suspense and chaos are tailor-made for future cult status. Its embrace of pure, unrestrained horror, unabashedly campy tone, and bold stylistic choices will undoubtedly garner this title a devoted fanbase.
‘Censor’ (2021)
Written and directed by Prano Bailey-Bond in her feature debut, Censor is set in 1980s Britain at the height of the Video Nasties. Niamh Algar stars as Enid Baines, a film censor who lives a carefully constructed and controlled life. While working, she comes across a splatter movie titled “Don’t Go Into the Church,” which mirrors hazy childhood memories surrounding her sister’s disappearance, with its lead bearing a striking resemblance to her long-lost sibling. As she sets out to unravel the puzzle behind the film, Enid unravels.
A Devastating Meta-Horror Masterpiece
Censor delves into many themes — moral panic, societal blame, grief, guilt — while using censorship as a metaphor for Enid’s psychological repression of her trauma. At its core, it’s an unsettling and thought-provoking character study of a traumatized woman whose psyche was always going to inevitably break. Shot mostly on 35mm film, with some Super8 and VHS footage, the movie incorporates a giallo and grindhouse aesthetic to visually stunning results. Its rich thematic depth and eerie visuals make the movie prime for cult status, especially among fans of psychological horror and stories with a meta-edge.
‘We’re All Going to the World’s Fair’ (2021)
We’re All Going to the World’s Fair is written, directed, and edited by Jane Schoenbrun (I Saw the TV Glow). The coming-of-age horror movie follows a young, isolated, depressed teenager named Casey. Seeking refuge from loneliness and a difficult home life, she immerses herself in a viral horror role-playing game called “The World’s Fair Challenge.” As she documents her participation and becomes more involved with the game, the lines between reality and fantasy blur.
Existential Dread and Online Terrors
Schoenbrun thoughtfully taps into teenage isolation and the desperate need to find belonging in the world, while exposing internet culture, the horrors that can come from online communities, and the effect of digital spaces and social media on mental health. With minimalist horror and profound psychological depth, it reflects the perils and anxieties of our increasingly online world, while beckoning to be reexamined for generations after.
‘Sissy’ (2022)
Sissy is an Australian horror movie co-written and co-directed by Hannah Barlow and Kane Senes. Aisha Dee stars in the titular role of lifestyle vlogger Cecilia, also known as Sissy. When she runs into her estranged childhood best friend, Emma (Barlow), she’s invited to her bachelorette party. There, Cecilia is reunited with her former school bully, Alex (Emily De Margheriti). Buried secrets and repressed emotions bubble to surface, leading to a violent and bloody weekend getaway.
A Fresh Take on the Revenge Horror Film
Despite doing well with critics, the indie film remains a lesser-known entry to the genre. What makes it stand out is its balance of horror and satire, as well as its biting social commentary. Sissy has a lot to say about the superficiality of social media and influencer culture, the dark side of toxic positivity, and the lasting impact of childhood trauma. It’s the kind of original film that subverts expectations, and is both absurd and deeply unsettling, making it the perfect kind of film to develop a cult following.
‘A Wounded Fawn’ (2022)
If you’ve heard of the obscure horror film A Wounded Fawn, then you’re one of the rare ones. Co-written and directed by Travis Stevens, the movie stars Sarah Lind as Meredith, a museum curator who, healing from a bad relationship, is learning to open up again. After a few dates with Bruce (Josh Ruben), she goes on a romantic weekend getaway with him to a remote house in the woods. Unbeknownst to her, Bruce is a serial killer, and she is his next target.
A Unique Style and Disorienting Experience
You might think you know where this story is going, but you would be mistaken. A Wounded Fawn surprises viewers, taking an extremely unpredictable and satisfying turn as the predator of women gets his comeuppance. Drawing inspiration from the Erinyes, goddesses of vengeance in ancient Greek mythology, the film is one of the most original female rage horror movies of this century. Stevens blends surrealism with a giallo and grindhouse aesthetic, captivating audiences with a beautiful picture. The movie may not be widely recognized, but its rich thematic layers, psychological horror, and folklore influences will turn it into a cult classic for arthouse fans.
‘Watcher’ (2022)
Chloe Okuno’s feature debut follows an American actress, Julia, played by the ever-so-talented Maika Monroe. She and her Romanian-American husband, Francis (Karl Glusman), relocate to Bucharest for his job. As he spends long hours at work, Julia feels she is being watched by a mysterious neighbor across the street. Meanwhile, there’s a serial killer dubbed The Spider claiming the lives of women in the area. As she grows increasingly afraid, Julia is convinced her watcher is the culprit behind the series of decapitations.
A Brilliant Debut
The film’s brilliance lies in its ability to build tension through subtle cues and slow pacing, allowing the terror to seep in gradually. Monroe’s powerful central performance adds another layer of authenticity to the story, making her character’s fear palpable. The Hitchcockian horror vividly portrays the common female struggle of having your valid fears dismissed by the same patriarchal structures that threaten your safety. Watcher is a slow-burn gem with stunning cinematography and an unforgettable good-for-her ending. Its quiet genius and mounting suspense make it the perfect cult classic candidate.
‘Lisa Frankenstein’ (2024)
Lisa Frankenstein is written by Diablo Cody and directed by Zelda Williams, and is set in 1989. Kathryn Newton stars as the titular character, Lisa Swallow, a quirky teenage outcast grieving the death of her mother two years prior and forced to live under the roof of her wicked stepmother (Carla Gugino). She spends most of her time musing at an abandoned cemetery and talking to the bust of a Victorian young man. When his corpse is reanimated by a storm one night, they form a connection. As Lisa gets a taste for murder, she begins supplying his missing body parts.
A Fun, Colorful Take on a Beloved Classic
Cody’s Jennifer’s Body is a horror movie that got a lot of flak upon release, but has since become a feminist cult classic. Despite being a critical failure, with time, Lisa Frankenstein will meet the same fate. With its teen-driven energy, dark humor, emotional resonance, and gothic sensibilities, it has all the makings to become a beloved offbeat horror. The fun, rewatchable film is already garnering a loyal fanbase.
‘The Ugly Stepsister’ (2025)
The Ugly Stepsister reframes the classic tale of Cinderella from the perspective of one of the ugly stepsisters. Set in the 18th century, in the fictional kingdom of Swedelandia, it follows Elvira (Lea Myren). When her mother remarries, she and her sister move into their stepfather’s castle, where he lives with his beautiful daughter Agnes (Thea Sofie Loch Næss). Soon after, he dies, and the family is left destitute. What follows is a grotesque journey of medieval-style procedures for Elvira, in the hopes that she’ll catch the prince’s eye for marriage.
One of the Most Creative Horror Films of the 2020s
Quietly released on Shudder, the Norwegian coming-of-age body horror didn’t receive much attention outside of festival circuits. This subversive take on a familiar story will resonate with viewers seeking fresh, twisted interpretations of classic fairy tales. The film’s body horror is in the same league as Cronenberg’s works and movies like The Substance, all but ensuring its future cult status.
