Film
Before I Wake
A couple adopts a boy whose dreams physically manifest around him—beautiful ones, terrifying ones. Before I Wake is a tender, haunted thing that treats childhood trauma and grief with real respect. It moves between wonder and dread. For anyone who's ever felt unsafe in their own sleep.
Should you watch it?
Watch it if you want a grief-soaked fairy tale that treats bedtime as a place where anything can happen, and you don't mind your scares arriving with a tender ache.
Skip it if you need horror to be relentless, since this is a slow, sentimental drama at heart, with the frights arriving in measured bursts between long quiet stretches of domestic talk.
What it asks of you: Ninety-seven minutes, unhurried at first, and it wants you to sit with a grieving household before the uncanny rules start to tighten around it.
Not sure? Find tonight's pick in a minute.
If you liked this
The Shape of Water2017
A lonely woman bonds with a magical creature in Cold War isolation. It's tender and strange, unafraid of fairy-tale sincerity, and gorgeously made. You'll feel seen and comforted.
But The pace is deliberate and the sentimentality won't work if you resist it. Some find it too precious.

Insidious2011
A child slips into a supernatural coma; his parents descend into nightmare. Visceral and clever, it understands what makes parental helplessness unbearable. James Wan directs with real craft.
But It relies on jump scares more heavily as it builds. The third act trades some tension for spectacle.

A Tale of Two Sisters2003
A haunting Korean fable about two girls and a stepmother that moves between dream and reality. Visually stunning, tonally strange. It gets under your skin in ways you won't fully understand until later.
But It's deliberately cryptic and will frustrate anyone wanting clear answers. Also quite distressing in its second half.

Not sure tonight? Get a pick in a minute, starting from Before I Wake
The wildcard
Something you would not have found on your own.
Kodachrome2017
Both films understand that the deepest horror isn't monsters—it's the loss of people we love and the terrifying gap between what we want to show them and what they actually see.
An estranged father and son drive cross-country to close a Kodachrome processing plant before it shuts forever. It's a quiet meditation on memory and fathers and love expressed sideways. Nothing fantastical happens, but it understands the same ache.
But Plot barely exists. If you want incident and conflict, you'll be restless. Ed Harris and Jason Sudeikis keep it gentle in a way some find static.

More like this (8)
Spirited Away2001
A girl enters a bathhouse of spirits and gods. Miyazaki's masterpiece walks the line between wonder and genuine unease. The animation is incomparable and the story moves your heart.
But The middle section can feel meandering. It's paced for contemplation, not momentum.

The Sixth Sense1999
A boy who sees dead people meets a psychologist trying to help him. Shyamalan's best work: patient, emotionally true, and built to destroy you in the final frames.
But Once you know the ending, rewatches lose their power. The middle drags if you already know where it's going.

Pan's Labyrinth2006
A girl in Franco's Spain finds a faun who leads her into a dark fantasy. Del Toro's masterwork braids myth, horror, and heartbreak. Visually unforgettable.
But The real-world violence is genuinely brutal and never softened by the fantasy framing. Subtitled, if that matters to you.

The Night House2021
A widow explores her husband's secrets and her own fractured reality in their lakehouse. Rebecca Hall is extraordinary. It's grief and supernatural terror fused into something that feels both intimate and cosmic.
But It asks you to sit with ambiguity and refuses to explain itself. Some scenes are deliberately disorienting in ways that might alienate.

Come True2020
A teen in a sleep study begins experiencing disturbing visions. Slow-burn sci-fi horror that's hypnotic and unsettling. The sound design alone is worth it.
But Plot is secondary to mood and visual texture. Patience required; narrative payoff is deliberately vague.

The Innocents1961
A governess wonders if two children are genuinely haunted or if she's unraveling. A masterclass in suggestion over revelation—Deborah Kerr's performance holds impossible tension.
But The pacing is glacial by modern standards. Ambiguity about what's real never resolves.

The Double Life of Véronique1991
Both use the fantastical to excavate loneliness and the haunting impossibility of truly knowing another person, even someone who should be closest to you.
A woman discovers she has an identical double living another life. Kieślowski's hypnotic film exists in dream-logic and split-screen revelation. It's about connection across impossible distance, filmed like watching someone through water.
But It's deliberately non-literal and structurally experimental. Some will find it obscure or precious rather than profound.

The Vanishing1988
Both understand that what we fear most isn't what we see—it's what we don't, the person who vanishes, the dreams we can't reach, the explanations that never come.
A Dutch woman disappears at a gas station; her partner spends years obsessed with finding answers. Haunting, slow, and Dutch filmmaker George Sluizer builds a sense of missing presence that never releases you.
But It's methodical and unglamorous. There's no catharsis and the ending will infuriate or devastate you, sometimes both.

People
Cast
Kate BosworthJessie
Jacob TremblayCody
Thomas JaneMark
Annabeth GishNatalie
Lance E. NicholsDetective
Scottie ThompsonTeacher
Dash MihokWhelan
Jay KarnesPeter
Kyla DeaverAnnie
Courtney BellAndrea
Justin GordonDoctor Tennant
Hunter WenzelTate
Directing
- Mike FlanaganDirector
Writing
- Jeff HowardWriter
- Mike FlanaganWriter
Production
- Melinda NishiokaAssociate Producer
- Anne McCarthyCasting
- Kellie RoyCasting
- Brian FlanaganCo-Executive Producer
- D. Scott LumpkinExecutive Producer
- Dale Armin JohnsonExecutive Producer
- David S. GreathouseExecutive Producer
- Glenn MurrayExecutive Producer
- Julie B. MayExecutive Producer
- Lewis HorwitzExecutive Producer
- Mali ElfmanExecutive Producer
- Michael Ilitch Jr.Executive Producer
- Sam EnglebardtProducer
- Trevor MacyProducer
- William D. JohnsonProducer
Recommended by
Gerald's Game, The Apology, The Trap, Haunter, Searching for the Wrong-Eyed Jesus