This time around he hires a videographer to chronicle a day in his life, wherein he unveils his true villainous self, with the promise that he won’t kill her over the next 24 hours.įollowing Duplass into a facsimile spate of killings would have been the swiftest route to a second chapter in the Creep franchise. For the sequel, Duplass returns as the titular creep, emboldened by his past murderous exploits to embrace his ego even more. How do you follow up a trendsetter like that? Easy. Patrick Brice and Mark Duplass’ Creep (see below) blasted onto the horror scene leading the mumblegore pack with its quiet, simple aspirations that proved utterly terrifying. 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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