*Keep up with our ongoing end of the year coverage here* To think there was ever a dry and slow time for horror seems impossible when looking at the current landscape. Horror is more popular than ever these days, and the genre shows no signs of slowing down anytime soon. Yet with there being such […]
To think there was ever a dry and slow time for horror seems impossible when looking at the current landscape. Horror is more popular than ever these days, and the genre shows no signs of slowing down anytime soon. Yet with there being such a constant output of horror, naturally, a lot of titles were lost in the shuffle, or simply missed by the general public. That’s where this list comes in.
So, like previous years, the goal of this end-of-year list is to shine a light on ten of those overlooked, underrated, or lesser-known newer horrors that can be considered hidden gems of 2025.
The Twin
Pictured: Logan Donovan in The Twin.
It would be remiss of me not to mention the familiar premise in J.C. Doler‘s The Twin. Surely there is a been-there-done-that feeling to its story. Then again, there’s also something very haunting about this slice of grief horror. Its honesty about loss is not to be ignored. In this movie, a man struggles to put his life back together after he and his wife’s young son died in a tragic accident. And as anticipated, that healing never comes easy; the father is now seeing his shadowy doppelgänger. The performances are good all across the board, but Robert Longstreet steals the spotlight on more than one occasion.
Kryptic
Pictured: The cryptid in Kryptic.
Kourtney Roy’s debut movie, Kryptic, isn’t going to be for everyone. That’s clear, based on the mixed reception. Admittedly, though, this offering of weird and surreal horror does pull a bait-and-switch on its audience, particularly those who were expecting a movie just about a creepy cryptid in the Canadian wilderness. In what is quite the opposite of your expectations, the story goes down a totally different path. The main character’s (Chloe Pirrie) journey to find a missing cryptozoologist takes her, and you, to the strangest places.
Match
Pictured: Jacques Adriaanse in Match.
Tubi has managed to surprise us again. In his review, Bloody Disgusting’s Joe Lipsett said of the streaming service’s latest horror original:“[Match] has the right qualities to be a solid exploitation thriller.” And that is the keyword in why Danishka Esterhazy‘s new movie is such a ball of sick fun; it’s exploitation done right. After setting up what was clearly a catfish situation for the victim (Humberly González), the remainder of this story gets pretty damn bonkers. You’re very right to feel those ’90s direct-to-video horror vibes from this one.
Fear Below
Pictured: The bull shark surfaces in Fear Below.
In the same year that Jaws turned fifty, we got two new, worthwhile shark movies. Beast of War definitely had the bigger push, and it rightfully received kudos for its production values, characters, and one incredibly nightmarish antagonist. Matthew Holmes‘ Fear Below, on the other hand, sank to the bottom of the sea. One that is, needless to say, already littered with subpar shark movies. Looks can be deceiving, though, because this Australian, 1940s-set story of criminals, buried treasure, and one territorial bull shark is a good time. Strong character writing, plus a unique setting, does wonders here. Oh, and have no fear, Holmes largely relied on practical effects for the shark.
The Wild
Jessica Kozak brings us on a tense camping trip in The Wild. What was originally meant to be a time of healing for three friends (Kate Easton, Kayla Foster, and Sunita Mani) turned into the most dreadful trip. A secret hangs over these grieving characters, and you’re convinced you already have it figured out. Yet as emotions overflow, and an unexpected visitor (Danny Deferrari) alters the course of the weekend, the movie takes on this wonderfully dark and suspenseful tone.
Bark
Pictured: Michael Weston and A.J. Buckley in Bark.
Marc Schölermann’s survivalist tale isn’t what it seems, and that’s for the best. Bark is a real surprise once the pieces of the puzzle start to fall into place. What begins like a low-scale, outdoorsy Saw ends up being something else entirely. To say more would be spoiling the story, but keep this in mind as you watch: your patience will be rewarded in the most brutal way possible. This one really hits you in the gut.
The Man with the Black Umbrella
Pictured: The Man with the Black Umbrella.
Fans of Creepypasta-esque horror, along with true crime and found footage, should seek out Ricky Umberger‘s The Man with the Black Umbrella. Here, a man (Max Johnson) makes the grave mistake of investigating his sister’s murder, and he soon learns the culprit is far from human. Now, what the movie lacks in originality, it makes up for in delivery. And just when you think this story is going in circles, the third act turns into a rollercoaster of nonstop thrills.
#Manhole
Pictured: Yūto Nakajima in #Manhole.
Kazuyoshi Kumakiri’s#Manhole is certainly another entry in the overcrowded “confined to one location” genre, but to see where this movie is heading is next to impossible. Here, a drunken man’s (Yūto Nakajima) night out ends with him falling through a manhole, then having to use social media to find help. As you’ll soon discover, trying to stay ahead of the story will prove difficult.
Went Up the Hill
Pictured: Vicky Krieps and Dacre Montgomery in Went Up the Hill.
For a rather different kind of possession story, make your way over to Samuel Van Grinsven‘s Went Up the Hill. In this intimate slow-burn, a dead woman’s spirit lives on in both her estranged son (Dacre Montgomery) and her widow (Vicky Krieps). What comes next is out there, and not remotely feel-good, but as far as visceral trauma horror goes, Went Up the Hill delivers that and then some. Krieps and Montgomery are each fantastic here, with the latter giving a career-best performance.
Descendent
Pictured: Ross Marquand in Descendent.
Peter Cilella‘s Descendent might be what madness feels like. This upsetting story of a struggling husband and soon-to-be father, played by Ross Marquand, is unlike most horror movies to have come out this year. It doesn’t have any sort of tangible terror for the protagonist to fight; after his encounter with what could be aliens, he fights himself.Aaron Moorhead and Justin Benson, the team behind such films as Spring and The Endless, helped produce this excellent piece of existential horror.
