As January winds to a close and with February right around the corner, Netflix has officially released all of the titles that will be added to and removed from its streaming service for the upcoming month.
The service has announced many successful and well-known titles joining its library in February, like the American Pie series, Billy Elliot, and As Good As It Gets. Sadly, films like Children of Men, Clerks, and The Big Lebowski will depart the service when February arrives. See the full list of films arriving here and list of films leaving here.
There are some choice selections for horror fans that will be both arriving on the service in February, and, unfortunately, some great titles that will no longer be available.
Scroll down to see our picks for the best horror coming to Netflix and remind you what to watch right now before they expire!
Debuting as the '90s came to a close, Final Destination served as a refreshing slasher in which Death incarnate was the villain. The film's fresh-faced cast resulted in it being lumped in with the slasher subgenre's revival in that decade, but this film was both much more and much less than its competition.
When a high school student on board a plane has a premonition about the plane crashing, he and a handful of classmates exit the aircraft, only for this premonition to come true. With Death being robbed of these souls, the "survivors" begin meeting their maker in a number of gruesome, Rube Goldberg-inspired accidents.
While other teen-oriented slashers attempted to come up with compelling backstories for their killers, Final Destination realized that the mere concept of Death is the most frightening thing imaginable, allowing the narrative to eradicate its protagonists in delightfully brutal ways. More than the heroes themselves, audiences are left rooting for their demises, knowing that their doom is inevitable.
After a seven-year lapse following the release of Child's Play 3, the franchise returned in a big way with Bride of Chucky, effectively bringing the series back from the dead.
The first three films in the franchise focused on a child coming into possession of a doll imbued with a murderer's spirit, with Bride of Chucky instead focusing on a deranged fan of the killer tracking down the doll and reviving it with a voodoo incantation. If the premise sounds ludicrous, you're not wrong, as this fourth film in the series leaned far more into the humorous elements than its predecessors, with all subsequent films following Chucky's absurd antics and dropping the "Child's Play" element completely.
The original Jaws is one of the greatest films of any genre of all time, which you may have seen already. The following three films, on the other hand, offer little
Ranging from voodoo rituals to shark relatives tracking down members of the Brody family, the plots of the film's sequels are almost too ridiculous to believe and must be witnessed with your own eyes.
We can't quite recommend anyone track down sequels to such an iconic film, yet if you've ever been curious about what a 3D installment of the series would look like or how the narrative justifies one of the main characters from the original film dying from "fear of sharks," only for his son to be killed by a descendant of the original film's shark, you might as well watch them before you have a harder time seeking them out.
Throughout much of the '90s, the zombie subgenre had almost completely stagnated, with the monsters becoming more of an easy punchline than a formidable foe. With 2004's Shaun of the Dead, the zombies were thrust back into the spotlight with its blend of humor and horror.
Two deadbeat best friends are surprised to wake up one day and discover that a zombie infestation has begun in their community. The pair
It's difficult to overstate Shaun of the Dead's successes, not only by delivering audiences an unexpected classic zombie film, but also by launching the careers of Simon Pegg, Nick Frost, and director Edgar Wright, all of who have been dominating genre films since Shaun of the Dead's debut. Between this film and 2002's 28 Days Later, zombies came back in a big way and continue to be a powerful force in the world of horror.
Eli Roth has earned a passionate following from horror fans over the years, thanks to a number of terrifying tales. One of his biggest hits is 2005's Hostel which, unintentionally, helped invent the term "torture porn."
American tourists are roaming the European countryside, yet are disappointed with how many fellow tourists they are encountering. The travelers seek a more rural adventure, taking the advice of a local and visiting a hard-to-find hostel. Shortly after their arrival, they are drugged and kidnapped, becoming the victims of wealthy foreigners who want nothing more than to enact their many sadistic fantasies on the Americans.
While many films attempt to deliver viewers endearing characters, Roth offered characters who were insufferable, allowing audiences to revel in their punishment. This film, along with the Saw series and countless other imitators, resulted in the decade being dominated by films focusing more on unsettling practical effects over complex narratives.
The film might merely have been called "Piranha" in its home video release, though the theatrical title "Piranha 3D" is a much more accurate description of the adventure in store for horror fans when they check out this remake.
After an earthquake opens up a passageway to a prehistoric lake, terrifying fish invade bodies of water in a popular spring break locale. Local law enforcement hopes to evacuate the area, but telling thousands of half-naked coeds that they have to abandon their vacations is easier said than done, leading to hilarious bloodshed.
The original Piranha cashed in on the popularity of Jaws, with this remake leaning into the campy spirit of the premise. While the 3D sequences don't translate as well at home, the film is an entertaining and absurd experience full of impressive practical effects.
While mainstream horror continues to churn out expected fare, independent studios are allowed to get much more ambitious in the types of narratives they deliver viewers. In the case of Personal Shopper, audiences are delivered a mystery, a family drama, and a ghost story all in one.
An American personal shopper living in Paris begins to receive bizarre text messages as she copes with the loss of her brother, yet it's unclear if she's become the victim of a prank or if the threats she is receiving are meant to be a warning.
Personal Shopper undeniably has supernatural elements, but what makes it so unique is the ways in which audiences are left guessing about what is real and what is otherworldly. Making the film even more intriguing is that, while the film resolves some of