Top 20 Terrifying Horror Movies That DON'T Rely On Jump Scares

The batting average for Stephen King film adaptations is generally solid, with many all-time classics. “Misery” definitely ranks up there, with King himself naming it among his very favorites. One of the reasons why “Misery” scores so highly with both critics and audiences is due to the fact that it never reaches for low-hanging fruit. There’s legitimate story craft here that eschews jump scare conventions of the slasher film, in order to portray a more psychologically frightening tale. “Misery” hangs upon the Kathy Bates performance of Annie Wilkes, who at first seems to be a savior, but whose obsession ends up nearly torturing protagonist Paul Sheldon to death. It’s a horror story that remains very human, which is perhaps the scariest thing of all.

There’s no glamorizing present here within 1986’s “Henry: Portrait of a Serial Killer.” Director John McNaughton goes for the throat and never lets go with this loose adaptation of the real-life killers Henry Lee Lucas and Ottis Toole. The atmosphere here is grimy and disturbingly realistic, as it presents the increasingly erratic and unpredictable killings that take place throughout the film. “Portrait of a Serial Killer” may have been produced during the 1980s, but this definitely isn’t a popcorn flick by any means. Instead, the grim tone and intentional lack of jump scares means that we’re trapped in the passenger seat, silent enablers to Henry’s gruesome reign of terror.

It may seem like a stretch to refer to 2019’s “The Lighthouse” as a dyed-in-the-wool horror film, but we’d argue that there’s more than enough conceptual darkness to merit its inclusion. Director Robert Eggers wisely saves his jump scares for the final sequence, ramping up the mystery and tension to the point of feeling uncomfortably taut. “The Lighthouse” utilizes its jumps wisely, and they never feel cheap. Eggers prefers to instead include thematic allegories to the Greek Prometheus myth, lending his film a vibe that feels just at home in the arthouse as the grindhouse.

The realm of horror within the 1950s and ‘60s wasn’t exactly bereft of jump scares. This was the age of the atomic creature and giant monster, after all. Meanwhile, industry folk like William Castle made a living out of inventing theater gimmicks to “jump” audiences out of their seats. “The Haunting” was something different, however, a throwback to horror’s golden age that preferred to disturb its audience rather than shock. This is definitely intentional with regard to cinematography, story and performances, specifically that of Julie Harris as Eleanor Lance. Eleanor’s mental health struggles play heavily into “The Haunting,” while the film’s claustrophobic aura never really needs jumps to be scary.

It’s not exactly a secret amongst horror fans that the original, Swedish version of “Let the Right One In” is one of the true gems released during the late 2000s. This very unique take on the well-worn vampire mythos benefits from strong lighting, camera work and performances across the board. “Let the Right One In” could’ve easily devolved from that point into parody or cheap scares, but it never goes down that road. Instead, it combines themes of love, loneliness and mortality where fans might not expect to see them, and the film is made all the better for that fact.

Right off the bat, it should be said that “The Babadook” incorporates a comparatively higher amount of jump scares than the other films on this list. However, it’s important to note that this cult horror flick from 2014 never really comes across as requiring these jumps to deliver fright. Instead, “The Babadook” seeks to work hand-in-hand with these contemporary jump-tropes to deliver a quality story. A cluster of jump scares seeks to rouse audiences around the halfway point, but “The Babadook” also knows to present a psychologically creepy story from first frame to last.

Fans of Brian De Palma’s “Carrie” know exactly what we’re talking about when we mention THAT jump scare that occurs during the final frame of the film. And yes, it’s one of horror cinema’s all-time greatest frights. However, “Carrie” earns its right to that final jump scare throughout the rest of the film. De Palma adapts the Stephen King novel with style, drama and pathos, allowing the audience to truly connect with Sissy Spacek’s Carrie White prior to the fiery climax. The telekinetic terror may burn in hell, but her story still manages to thrill audiences so many years later.

The landscape of practical special effects arguably reached their peak during the 1980s, with many horror magicians creating screen icons with latex and plastic. “The Fly” was very much indicative of this fact, just like the 1958 original was a titan of old-school horror storytelling. Both versions of “The Fly” don’t need jump scares to be scary, but the David Cronenberg version from ’86 severely ups the ante in terms of creative makeup. The transformation of Jeff Goldblum’s Seth Brundle into the Brundlefly is gruesome and messy enough to haunt our nightmares for all time.

Alfred Hitchcock wasn’t known as the “Master of Suspense” for nothing. The writer and director didn’t need any latex monsters or sci-fi creations to chill his audience’s blood back in 1960 with “Psycho.” Instead, it’s the terror of the mind that haunts viewers, as they wonder who exactly is behind that silhouette during “Psycho’s” iconic shower scene. Sure, there are a couple minor jumps near the climax, but the classic status of “Psycho” is much more wrapped up within the performance of Anthony Perkins as Norman Bates. It’s creepily understated and intentionally, subtly menacing - the sort of horror that lives on forever.

“The Exorcist” is another movie, similar to “The Babadook,” that may possess more jump scares than you remember, but that’s not a bad thing. We say this because director William Friedkin’s unequivocal classic manages to make audiences forget this fact due to the smoothness of its storytelling. Of course, it helps that the jumps are nicely spread throughout the film, but “The Exorcist” never needs them to shock. This is a perfect storm that takes Linda Blair’s generational performance, harrowing makeup effects and a spot-on musical cue to create diabolical magic. The Devil is truly in the details with Friedkin’s film, and it’s managed to endure, year after year, for a very good reason.

Admit it; this movie had you looking over your shoulder for weeks. After Jay sleeps with her date, she is haunted by an entity that can take any human form. This is why the film works so well; it only follows its victims slowly, which makes nearly every extra step a potential killer. Rather than giving us quick, cheap jolts, the scares are slow and ultimately more effective for it. From the inciting incident, nothing ever feels safe, and the lack of information about the entity makes it all the more dread-inducing; how can it be defeated? The movie doesn’t answer all the questions, but that just serves to make that unnerving feeling last.

A God-fearing family in 1630s New England moves to an isolated farm on the edge of the woods to worship God as they see fit. But, this list isn’t about feel-good movies, is it? “The Witch” is a slow burn of one unnerving event after another. The family is tormented by something in the woods that slowly tears apart their once strong familial bonds. Not a single shot of the film feels safe, as Robert Eggers’s masterful sense of tone keeps you on the edge of your seat, without ever resorting to cheap scares.

While Jordan Peele proved that he could beat the so-called sophomore jinx with 2019’s “Us,” we’ve got to go with his directorial debut for this list. “Get Out” skillfully mixes horror and humor with extremely relevant racial themes, all while presenting Peele’s unique narrative and visual style. And thanks to a cleverly crafted screenplay that’s brought to terrifying on-screen life through its talented cast members, there’s no need for tons of big jump scares. Instead, Peele thrills and chills us slowly, building the suspense until the truth about Chris’s girlfriend’s family is revealed - leaving both the characters and the audience stunned, shocked and disturbed. Is it any wonder the movie was nominated for four Oscars and won one for Best Original Screenplay?

There’s only one thing scarier than Satan: children. Put them together, and you get this horror classic. When Robert and Katherine’s son mysteriously dies shortly after birth, Robert secretly adopts Damien. But when Damien turns five, strange and disturbing events begin to unfold, including a truly horrific death. Damien doesn’t take well to animals or churches, and it soon becomes clear that he’s no normal boy. The film is a slow descent into Hell as the truth about Damien slowly unfolds and the bodies begin to pile up. Suspense builds as unseen forces manipulate and terrorize the protagonists, whose excellent character development adds the sting of sympathy to our sense of dread and terror.

The legendary Stanley Kubrick adapted the work of Stephen King for this unforgettable chilling tale. Jack, Wendy and Danny Torrance take up residence in the confined Overlook Hotel so Jack can serve as the winter caretaker and focus on his writing. Danny is the first to uncover that there are malevolent presences at the hotel, who reveal themselves in terrifyingly effective ways. Jack’s behavior becomes more and more unsettling and Kubrick’s innovative camerawork keeps us wondering what’s real and what’s in his head. Whether it’s ghosts, madness, or isolation, the movie presents horror tropes with such style and purpose that it remains a unique exercise in fear, even decades later.

Big spooky houses are nothing new to the horror genre, but director Alejandro Amenábar creates a uniquely eerie atmosphere. Nicole Kidman’s impeccable performance as Grace, a woman convinced her house is haunted, helps the movie work with her every expression of terror and unease. There’s an overarching aura throughout each scene that something truly bizarre is occurring in the house, and as a viewer, there’s a morbid curiosity as to what exactly that is. We won’t give away the ending here, but it’s safe to say that once you watch this movie, scary as it is, you’ll want to watch it all over again.

Pregnancy can undoubtedly be a harrowing experience, but Roman Polanski turns it into absolute hell. After having a strange nightmare on the night she and her husband conceive a child, Rosemary’s life becomes a living nightmare. The odd behavior of her friends and her strange pregnancy symptoms arouse suspicion about the nature of her child. The unfolding of the truth isn’t about the ultimate reveal, though, as Mia Farrow takes us on a dreadful journey leading to the climactic, horrifying discovery. Centring a film on witchcraft that occurs right under our very noses understandably disturbed audiences in 1968, and the film today remains among the scariest of all time.

It’s a testament to the quality of this acclaimed movie that it’s the only horror film to win an Oscar for Best Picture. Following Clarice Starling as she works with convicted cannibal Hannibal Lecter to catch the murderous Buffalo Bill, this movie is the complete package, with exquisite performances, precise direction, and marvelous writing; not once does it rely on a jump scare. Anthony Hopkins’s performance is instantly recognizable as one of the creepiest ever put to screen, and his scenes with Jodie Foster remain some of the most frightening to be found in the genre.

When the Graham family experiences a tragedy, their grief sours into unspeakable horror. First-time feature film director Ari Aster pulls horror out of the bleakest emotions in an unapologetically dark tale; it’s a terrifyingly unique film. Each scare carries emotional weight and there are images and sounds more viscerally disturbing than you would expect to experience, even in a horror context. To give away too much would ruin the experience, but it slowly builds up to an absolutely bonkers third act that will linger with you long after the film has ended. Most horror films should scare you; “Hereditary” will emotionally bludgeon you.

The “Paranormal Activity” series might lead you to believe that found footage horror films are nothing but an amalgamation of jump scares, but the movie that popularized the style proves otherwise. Heather, Michael and Joshua head into the Burkittsville woods to investigate the legend of the Blair Witch. Rather than throwing random spooks at the audience, it builds an uneasy and uncertain tension by teasing us with an unseen villain and allowing us to fill in the blanks. The movie took a bold risk by playing with form and reality, ushering in a new century of horror.