Film
The Haunting of Sharon Tate
- Horror
- Very dark
A supernatural horror reimagining of Sharon Tate's final days that trades historical tragedy for premonitory hauntings. It's a low-budget genre exercise that treats Tate as a psychic vessel rather than a person—more interested in dread and jump scares than the Manson family murders themselves. For viewers who want horror divorced from true-crime exploitation, though the concept sits uneasily regardless.
If you liked this
Poltergeist1982
A pregnant woman and her family are terrorized by supernatural forces in their own home. Spielberg-produced haunted-house classic that defined how to build dread through intimate domestic spaces and genuine scares.
But The pacing is deliberately slow for atmosphere-building, and some will find the dated effects pull them out rather than pull them in.

The Omen1976
A parent faces terrifying premonitions about their child's future and their own mortality. Relentlessly tense and architecturally perfect—every scene tightens the screw. Gregory Peck's anguish makes it tragic, not just scary.
But It's genuinely grim and dour throughout. There's no relief, no levity, and it ends where you fear it will.

The Shining1980
Psychological horror about a family isolated in a hotel where past violence bleeds into the present. Kubrick's masterpiece uses architecture and repetition to trap you inside madness. Endlessly rewatchable and disturbing.
But It's abstract and slow, more interested in mood and pattern than scares. Jack Nicholson's performance is divisive—some find him more annoying than terrifying.

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A Nightmare on Elm Street 3: Dream Warriors1987
Both center on victims trying to warn others of their fated deaths and seek control through awareness. But this one lets the victims fight back and win—a fundamentally different outcome from Tate's helplessness.
Teenagers fight back against a supernatural serial killer who invades their dreams. Genre-perfect blend of horror and dark comedy that doesn't take itself too seriously. Dreams become a battleground where the rules are yours, not the killer's—control that Tate never has.
But It's unabashedly eighties and campy at moments. The tone lurches from funny to gruesome, which some find tonally unstable.

More like this (8)
Don't Look Now1973
A grieving couple in Venice encounters premonitions surrounding a terrible death. Roeg's masterpiece interweaves the erotic with the uncanny, building genuine dread through atmosphere and implication rather than gore.
But The pacing is European and meditative. If you want consistent scares, you'll be frustrated. The ending is devastating, not triumphant.

Rosemary's Baby1968
A pregnant woman becomes convinced she's in danger from those around her. Polanski's own masterpiece—paranoia that could be supernatural or psychological, perfectly ambiguous. The performance is phenomenal throughout.
But It's a slow-burn that trusts you to stay with it. Long stretches are quiet and domestic, which some will find boring rather than ominous.

Hereditary2018
A family is haunted by generational trauma and dark supernatural forces. Ari Aster's debut is genuinely terrifying, structured like a Greek tragedy with family dinners as the arena for horror.
But It's extremely bleak and contains genuine body horror. The ending goes full supernatural in a way that divides viewers. Not for people who need hope.

Mulholland Drive2001
An actress in Hollywood grapples with identity, ambition, and the dark side of the dream industry. Lynch's fever-dream dissection of showbiz is hallucinatory and heartbreaking, not straightforwardly scary but deeply unsettling.
But It's deliberately fragmented and non-linear. You'll need to sit with confusion and ambiguity. It's less horror, more existential dread.

The Innocents1961
A governess suspects the children she cares for are possessed by ghosts. Jack Clayton's black-and-white masterpiece is endlessly subtle—you're never sure if she's right, which is precisely what makes it horrifying.
But Nothing explicit happens on screen. It's all inference and atmosphere. If you want visceral scares, you'll leave disappointed.

A Tale of Two Sisters2003
Two sisters navigate their household with an increasingly disturbing stepmother while reality itself begins to fracture. South Korean gothic horror that's beautifully composed, heartbreaking beneath the supernatural framing.
But The second half abandons conventional narrative logic. Some will find it poetic; others will find it frustratingly opaque. Subtitled, which isn't for everyone.

Blessed2009
Both feature young women receiving unbearable premonitions through their bodies. Here, the visions are religious rather than mortal—a different mythology applied to the same core helplessness.
A young woman experiences stigmata-like wounds and religious visions. Italian supernatural horror that's visually stunning and deeply weird, treating mystical experience as genuinely uncanny rather than comforting.
But It's obscure, Italian, and deeply strange. The narrative is deliberately fragmented. It requires patience and tolerance for ambiguity.

The Wailing2016
Both layer premonitions and supernatural dread over real historical/social tragedy. But Wailing refuses easy answers or catharsis—the uncertainty itself is the horror, not confirmation of death.
A small Korean village is gripped by mysterious illness and supernatural events as a detective investigates. Epic, gorgeous, theologically complex mystery-horror that treats the supernatural as genuine rather than exploitative. One of the finest horror films ever made.
But It's two and a half hours. It's in Korean. It's deliberately ambiguous about what's even happening and never resolves neatly. Heavy philosophical weight throughout.

People
Cast
Hilary DuffSharon Tate
Jonathan BennettJay Sebring
Lydia HearstAbigail Folger
Pawel SzajdaWojciech Frykowski
Ryan CargillSteven Parent
Tyler JohnsonTex Watson
Bella PopaSusan 'Sadie' Atkins
Fivel StewartYellow
Ben MellishCharles Manson
Joshua LangManson Family Driver
Directing
- Daniel FarrandsDirector
- Alan SteinmanFirst Assistant Director
- Jessica SheriffScript Supervisor
- Eldar ErlichSecond Assistant Director
Writing
- Daniel FarrandsWriter
Production
- Dean E. FronkCasting
- Donald Paul PemrickCasting
- Bill BromileyExecutive Producer
- Charles Arthur BergExecutive Producer
- Hilary DuffExecutive Producer
- Jim JacobsenExecutive Producer
- Jonathan DeckterExecutive Producer
- Jonathan SabaExecutive Producer
- Jorge Garcia CastroExecutive Producer
- Ness SabanExecutive Producer
- Shanan BeckerExecutive Producer
- Tess BrownExtras Casting
- Alan SteinmanLine Producer
- Mary E. FryLocation Assistant
- Daniel FarrandsProducer
- Eric BrennerProducer
- Lucas JarachProducer
- Michael ArterProduction Coordinator