Grimoire of Horror’s Best Films of 2025 – Cream of the Crop

Posted on by Jim Cox

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It’s that time of year again, when we take a look back at some of our favourite releases over the last 12 months. While 2025 has been a challenging year, with many ups and downs in multiple aspects of life, there have been some fantastic films released over the course of 2025. From slapstick comedy horror to disturbingly gruesome body horror, we take a full retrospective of some of what we consider to be the best titles we reviewed in 2025.

Nosferatu: The Real Story 

Nosferatu: The Real Story is a captivating, well-considered documentary that examines the film from all angles – its inspirations, styles, techniques, and cultural legacy. Whether you’re a cinema nerd, horror aficionado, socialist or historical, you’ll find something to enjoy and perhaps a new appreciation for one of history’s most important pieces of cinema! – Jenny

House of Sayuri

House of Sayuri is an amalgamation of Koji Shiraishi’s best horror movie traits. It features his standard supernatural elements, his wacky sense of humor, unrelenting violence, over-the-top characterizations, and his staple Lovecraftian tentacles. In other words, if you’re already a fan of his work, this will not disappoint you. Shiraishi-san is at the top of his game here, and I really hope that we see an official release outside of Japan at some point. If you’re not familiar with Shiraishi’s work, this might be a good stepping stone toward the rabbit hole that is his filmography. The best way to describe my experience while watching this film is “a horror roller coaster ride of emotions”. I probably shouldn’t have been affected by the film as much as I was (the ending really got me), but I’m not complaining! – Oki

Street Trash

Ryan Kruger’s socially-aware sequel/remake/reimaging of the 1987 Street Trash takes everything that was enjoyable about the original and puts it in a modern-day context. By moving the setting to Cape Town and placing it in the slight future, Kruger manages to evoke the dystopian social commentary of District 9. Not fussed about cutting critique in your horror films? Sit back and enjoy the crass humour, explicit gore, and fun special effects, but remember: ACAB, and melt the rich! – Jenny

Ed Kemper

An unbridled exploration of a broken mind, Ed Kemper is an unnerving and well-crafted portrayal of one of America’s most infamous serial killers. With a deeply engaging narrative, fantastic performances, and slick cinematography, the film does an impeccable job of drawing the audience into the warped world of Edwards’s damaged psyche and is sure to entice and enrapture fans of true crime thrillers and horror fans alike. – Jim

2 Girls 1 Gut

While only a tech demo, 2 Girls 1 Gut is an audacious yet captivating short whose technical prowess is nothing short of phenomenal. Furthermore, with highly animated performances from Uonome Gajiro and Natsuki, the film has certainly piqued my interest in what’s to come from this initial concept. – Jim

Dream Eater

Capturing both unimaginable terrors and the real horrors of losing a loved one, Dream Eater is a Lovecraftian tragedy unlike any other. It’s a cosmic treat for fans of found footage horror. – Adam

The Unsolved Love Hotel Murder Case Incident

A fantastic building of tension that comes to a crescendo of supernatural spookiness, The Unsolved Love Hotel Murder Case Incident is an absorbing inquest into Japan’s superstitious urban legends. With pragmatic performances from the cast, skillfully implemented effects, and a tantalisingly mysterious narrative, the film is an observable love letter to the Japanese found footage genre and comfortably sits in the upper echelon of the eclectic category of films. – Jim

The Rebrand

Dark, hilarious, and painfully relevant, The Rebrand is a must-watch for anyone who’s ever side-eyed a mommy blog or cringed through a “raw and honest” influencer apology video. It’s queer, campy, utterly savage —and maybe a modern cautionary tale for the ring light generation. – Jenny

Leech

Leech proclaims itself as one of the most niche films anyone will ever see, and existing inside the found-footage genre will further limit its broader appeal. However, David M. Dawson’s approach to film seems less about trying to break through to a broader audience and more about embracing a punk approach to filmmaking. Dawson certainly chases his inspirations, regardless of how obscure they may be, like conceiving a film around a lolcow known only to a handful. Still, those willing to roll around in the muck will revel in the filth along with Dawson, Acosta, and Miller. – Adam

Solvent

Johannes Grenzfurthner has crafted his best work to date with Solvent—a genre-defying, absurdist piece of horror that will leave audiences’ jaws on the floor. Whether or not the general moviegoers can vibe with it is inconsequential to the glorious madness on display. – Adam

Wings of the Abyss

Similar to director Shinji Sôma’s philosophy of “Humanity observing humanity”, Wings of the Abyss delivers a striking character study into the depths of counterculture, as well as provides a riveting blend of crime thriller and comedy drama. With fantastic performances from the entire cast, a technical level of cinematography, and excellent direction from Yuki Kobayashi, the film is an adroit take on modern-day rebellion in multiple forms. – Jim

What I Remember

If you’re looking for a conventional thriller or a neatly resolved drama, look elsewhere. But if you’re drawn to emotionally textured films like Skinamarink—works that live in mood and fragment—this is a journey worth taking. – Javi

The Ugly Stepsister

The Ugly Stepsister‘s sets and wardrobe are all garishly opulent and keep the audience well within the Brothers Grimm world, while the scenes shift from the absurd to the sublime with characters framed by blossoming flowers and pitch blackness, with all the classical drama of a Caravaggio masterpiece. The film’s star, Lea Myren, plays Elvira brilliantly, often silently conveying her journey from wide-eyed naive innocence to physical and mental derangement, lost to an obsession orchestrated by a sadistically warped mother and a misogynistic society. – Paul

Missing Child Videotape

An exceedingly unhurried tale of contrition, Missing Child Videotape is a gradual yet consistent descent into the effects of prolonged mournfulness and the damage a lack of closure can bring. With nuanced performances from the entire cast, a sombre yet gripping narrative with fantastic pacing, and an accoutre (lack of) score, the film is a highly rewarding, albeit melancholic watch that is sure to grip its audience until its final moments. – Jim

Hotspring Sharkattack

Rip-roaring, non-stop action from start to finish, Hotspring Sharkattack is a frivolous, lighthearted yet highly entertaining piece of B-grade cinema. While whimsical on the surface, under its tongue-in-cheek veneer lies a solid foundation of fantastic cinematography, a blend of serious and over-the-top performances, and breakneck pacing that delivers a perpetual laugh riot. While those expecting some level of seriousness may be left slightly disappointed (seriously, who goes into a film called Hotspring Sharkattack expecting that? That’s on you.), those who temper their expectations will surely get the most out of this insane premise. – Jim

Mors Omnia Solvit

An alluringly foreboding glimpse into a world of Satanism and thanatophilia, Mors Omnia Solvit is a captivating exploration of death and desecration displayed with sleek modernity. With its experimental storytelling, avant-garde cinematography, and astounding score, the film is a bold infernal dreamscape of dissolution and destruction. – Jim

Cuckoo

Singer’s Cuckoo is more than just a movie; it’s a full experience that hits on every level. It’s immersive, innovative, and beautiful in a sickly sort of way that leaves its audience feeling like they just awoke from a nightmare. The film’s cinematography, sound engineering, and storytelling come together flawlessly to create a haunting and unforgettable journey into the bizarre and uncanny. While some may argue that its plot is a bit convoluted, I would argue that it just requires viewers to suspend their belief and allow themselves to be fully drawn into the experience that is Cuckoo. – Liz

Dorothea

A compelling look into the life and crimes of one of California’s most notorious serial killers, Dorothea is a stylish and engaging character study that adopts a lighter tone toward its criminal elements to create a captivating true crime thriller with outstanding performances, an engaging story, and elegant cinematography. – Jim

28 Years Later

Expect tense moments, extravagant gore, tracksuited ninjas, goth Christmas trees, and some serious monster dong. The film looks beautiful, the sound design was excellent, and it was worth holding off on John Murphy’s iconic theme music until nearer the end! – Jenny

The Curse

Methodical and deliberate in every aspect, The Curse operates well within the framework of J-Horror to produce a remarkable example of the genre. With its slowly mounting tension, gruesome special effects, and outstanding performances from the cast, Kenichi leverages all these elements to craft an engaging narrative full of dread that resonates on every level. – Jim

The Cramps: A Period Piece

If detailed, gory, and crude descriptions of menstruation bother you, you may not enjoy this film. If you don’t want to see an attempted rapist’s arms melted off his body, or a backstabbing beauty queen get her comeuppance, perhaps give it a miss. However, if you’re up for something kitsch, camp, fun and freaky, The Cramps: A Period Piece will be as satisfying as a bar of chocolate at your time of the month! – Jenny

Incomplete Chairs

Incomplete Chairs is by no means an incomplete film as it deftly weaves confronting gore with dark humour to explore Japan’s relationship with consumerism and the ability of social media to create inauthentic social status symbols. The visual communication with the colour palette, along with lighting and shadow, used to heighten the dismemberment and Ryu Ichinose’s compelling performance as the menacing and mysterious craftsman, creates an unsettling and memorable film. Kenichi Ugana has hinted at a sequel, ‘Incomplete Tables’, making the whole domestic scene complete and fans ready to set the table and eat it up – blood and all. – Hannah

We Put the World to Sleep

An abstract examination of metaphysical filmmaking, We Put the World to Sleep is a remarkable dissection of the genre that pushes its limits. Its highly experimental, purposeful design conveys nuanced storytelling through visuals alongside its traditional narratives. While this change in style may be off-putting to some, those who appreciate unconventional cinema will find this unorthodox approach to found footage highly engaging and effortlessly compelling. – Jim

Bodycam

A compelling descent into occult rituals and supernatural terrors, Bodycam is a sleek and intricately crafted piece of found footage cinema that excels in narrative tension and unsettling atmosphere. With its engaging story, spectacular visual effects, and excellent performances, the film is ideal for fans of both found footage and supernatural horror. – Jim

Hide

Hide is sharp, succinct, socially aware horror done right, and it’s honestly hard to really find fault in it at all. It manages to be unsettling, intelligent, and robust despite its short runtime and modest budget (it was largely funded via a GoFundMe campaign that raised under $15,000). It finds a good balance between the here-and-now and the dystopian, and brilliantly blurs the lines of morality. While it may not provide a ton of backstory or exposition, it tells the story in a way that packs a real punch and feels very well-rounded. Overall, it gives you everything you want from a horror film: tension, dread, unanswered questions, a strong story, and a feeling of unease that lasts long after the credits roll. And if you still need convincing to give Hide a watch: Director Cory Pratt claims that this film is based on a true story. Bon appetit! – Liz

Dollhouse

Although Dollhouse doesn’t reinvent the haunted doll wheel, it delivers exactly what it promises: a fun, frenzied dose of eerie entertainment. Yaguchi-san’s careful direction keeps the energy high and the atmosphere playfully unsettling, making the tropes feel fresh enough to appreciate. There are some twists and turns towards the end that I didn’t see coming, which made the final stretch way more engaging than I expected. Dollhouse is a perfect example of how effective tropes can be when handled correctly, and I truly hope that Yaguchi-san’s next film, or at the very least one of his upcoming projects, is another horror one. – Oki

The Invisible Half

The Invisible Half succeeds in so many regards that its more timid approach to horror becomes more of a minor hang-up than a reason to disregard the work. Regardless, Masaki Nishiyama is a name horror fans should keep an eye on; I personally can’t wait to see what he comes up with next. – Adam

The Killing Cell

If you love found-footage films, then The Killing Cell is an absolute must-watch, and I predict it will be one of the most talked-about films in the genre upon the completion of its festival run in 2026. My review score here (4.5/5) is as an unapologetic found-footage addict, but it also comes with an understanding of what works and what doesn’t in a genre often brushed aside by mainstream horror fans. – Adam

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