What follows is my personal selection of the 13 best horror films of 2025. The order is deliberately varied — this isn’t a strict ranking, it’s a curated list designed to cover as much ground as possible. From supernatural horror to slashers, from prestige A24 to gleeful gore, there’s something here for every kind of horror fan.

And yes — found footage gets its own section at the end. It always does on this site.

Honorable Mentions

Before we get to the top 13 — a few words about the films that almost made it. These are all worth your time, even if they didn’t quite crack the list.

I had high hopes for Hallow Road and came away with mixed feelings. Not essential, but solid atmospheric horror for patient viewers.

The sequel nobody asked for but everyone enjoyed — Black Phone 2 delivers more of what made the original work. Ethan Hawke back, Scott Derrickson back, and enough genuine dread to justify its existence. Doesn’t surpass the original, but doesn’t embarrass it either.

Quietly devastating and not for everyone — The Long Walk is the kind of slow-burn that won’t make mainstream lists but deserves to be on yours. If you’re patient enough to let it breathe, it lingers.

The one that genuinely surprised me this year was Good Boy. RT critics called it “visually striking and emotionally devastating” — a horror film that refuses to behave like one. Ambitious, unusual, and unlike anything else on this list.

More thriller than horror, but Drop earns its place here. Meghann Fahy plays a woman on a first date who starts receiving anonymous threats on her phone — and has to navigate increasingly dangerous situations while keeping up the appearance of a normal evening. Relentlessly tense, Hitchcockian, and the year’s best popcorn movie.

And finally — the most underseen film of 2025. The Surrender is a restrained, genuinely unsettling mother-daughter story pushed to its breaking point by a mysterious stranger. A remarkable feature debut from director Julia Max that deserves a much larger audience.

Our Quick Guide to the 13 Films

Thirteen films is a lot. If you’re staring at the list wondering where to start, here’s a quick cheat sheet before we dive in:

The 13 Best Horror Movies of 2025

The order below is deliberately varied — think of it less as a ranking and more as a curated evening’s programming. Something for everyone.

1. Sinners

Nobody saw this coming. Ryan Coogler — the director of Black Panther and Creed — making a vampire film set in 1930s Mississippi Delta? It shouldn’t work. It absolutely does.

The Story: Twin brothers (both played by Michael B. Jordan) return to their hometown to open a juke joint. On opening night, something arrives at the door that the music and the whiskey can’t keep out.

→ The rare horror film that earns the word “epic.” Rich, layered, and shot with extraordinary confidence. Whether it counts as horror is a conversation worth having — it’s also a period drama, a blues film, and a meditation on Black American history. The 97% on RT is no accident.

2. Weapons

The second film from Zach Cregger — director of Barbarian — arrived with enormous expectations. It met them.

The Story: A classroom of children runs out into the night and disappears. A fractured, non-linear mystery gradually reveals something deeply wrong at the heart of a small American town.

Less a trap springing shut than a slow creeping realisation that everything is connected. Amy Madigan as the villain Gladys is one of the year’s most memorable screen presences. I found myself thinking about this one for days.

3. Companion

The sleeper hit of the year. Undervalued in theatres, destined to be a cult classic on streaming. It also made it in our list of the best AI Horror & Sci-Fi movies.

The Story: Iris (Sophie Thatcher) is the perfect girlfriend — attentive, warm, devoted. She’s also not human. When she and her boyfriend join friends at a remote lake house, the carefully constructed reality of their relationship begins to unravel.

Smarter than its premise suggests and considerably darker than its marketing implied. Sophie Thatcher is extraordinary. The twists escalate with impressive discipline. I went in expecting a fun sci-fi thriller and came out genuinely shaken.

4. Final Destination: Bloodlines

Fourteen years after the last instalment, Death is back. And it turns out the formula still works.

The Story: A college student has a premonition that saves her family from a catastrophic accident — but Death doesn’t forget who it was owed. The surviving family members begin dying in elaborate, unavoidable sequences.

Using family rather than strangers as the group Death is hunting raises the emotional stakes considerably. The opening dream setpiece is one of the most inventively brutal sequences in the franchise’s history. Not high art. Exactly what it promises to be.

5. Together

The most uncomfortable film on this list — and I mean that as a compliment.

The Story: A couple in a deeply dysfunctional relationship find themselves increasingly, literally bound to each other during a home invasion. Less a thriller than a dissection of codependency taken to its extreme conclusion.

Uses genre mechanics to say something genuinely disturbing about relationships. Not a comfortable watch — designed not to be. Not for everyone. Absolutely for me.

6. The Ugly Stepsister

The Cinderella story you didn’t know you needed — and definitely didn’t expect to be this disturbing.

The Story: A dark reimagining of the classic fairy tale, told from the stepsister’s perspective as she desperately tries to fit into the glass slipper by any means necessary. Body horror ensues.

One of the year’s most original films — a body horror fairy tale that uses the original story’s cruelty as its launch pad. The practical effects are extraordinary. Will split audiences cleanly down the middle. I was firmly on the side that loved it.

7. Bring Her Back

The follow-up to Talk to Me from the Philippou brothers — and a very different kind of horror.

The Story: A grieving father hires a mysterious stranger to bring back his late wife. Sally Hawkins plays the stranger. What she brings back is not quite what was promised.

Bleaker and slower than Talk to Me, and deliberately so. Sally Hawkins is extraordinary — quietly terrifying in a way that stays with you. Some found it too one-note. I found it haunting.

8. 28 Years Later

Danny Boyle returns to the universe he created. The result is exactly what the franchise needed.

The Story: Three decades after the rage virus devastated Britain, a young man ventures beyond the boundaries of his isolated community for the first time — and finds a world that has moved on in ways nobody expected.

Not as viscerally terrifying as 28 Days Later — but it’s not trying to be. This is a broader, stranger, more ambitious film. It divided audiences and I understand why. I thought it was bold, and bold counts for something.

9. Dangerous Animals

The underseen gem of the year’s mainstream horror releases.

The Story: A woman matches with a charming stranger on a dating app and agrees to meet him in an isolated location. What begins as a thriller about online predators becomes something considerably more complex.

Subverts its premise at exactly the right moment and in exactly the right direction. Lean, precise, and smarter than it looks. The kind of film that rewards going in with as little information as possible.

10. The Monkey

Osgood Perkins continues his remarkable run — and delivers the most fun horror film of the year.

The Story: Twin brothers discover their late father’s wind-up monkey toy. When it plays its little cymbals, someone nearby dies. They separate and throw it away. It keeps coming back.

Gleefully mean-spirited and completely aware of it. The Monkey isn’t trying to scare you — it’s trying to make you laugh and wince simultaneously, and it succeeds with remarkable consistency. The deaths are inventive, the tone is pitch perfect, and Perkins clearly had a great time making it.

11. Frankenstein

Guillermo del Toro’s long-awaited adaptation of the classic novel — and it was worth the wait.

The Story: Set in 19th century Eastern Europe, a creature born from the experiments of Dr. Victor Frankenstein is hunted down forty years later by another scientist who wishes to continue the work. Oscar Isaac plays the creature.

Del Toro brings his signature visual language and genuine emotional weight to a story that has been told many times and rarely this well. Not a horror film in any conventional sense — more a gothic tragedy. But unmissable for anyone who cares about what the genre can do at its most ambitious.

12. Clown in a Cornfield

More clever than the name implies — considerably more clever, actually.

The Story: A teenage girl moves to a small town with a dark history and a local legend involving a clown mascot named Frendo. The legend, it turns out, is more active than anyone is admitting.

A mid-film twist upends genre conventions in a way that genuinely earns the subversion. Not the scariest film on this list, but one of the most satisfying in terms of pure slasher craft. Good fun with a sharper edge than expected.

13. Until Dawn

The video game adaptation nobody expected to work — and that works better than it has any right to.

The Story: A group of friends return to the mountain resort where another group of friends disappeared a year earlier. They find themselves trapped in a loop of increasingly violent scenarios with one rule: survive until dawn.

The loop mechanic is lifted directly from the game and translated to film with more intelligence than most video game adaptations manage. Not profound. Genuinely entertaining, inventive with its kills, and proof that the right source material in the right hands can surprise you.

Outstanding Found Footage of 2025 — And a Look Ahead

Found footage had a quieter year than usual in 2025 — but three titles deserve your attention, and one of them is genuinely one of the best entries its franchise has ever produced. Wanna know what else came out? Take a look at our extensive found footage database.

V/H/S Halloween (2025) earned 94% on Rotten Tomatoes — making it not just the strongest V/H/S instalment in years but one of the best anthology horror films of the entire year. The Halloween theme gives the segments a cohesion that the franchise sometimes lacks, and the quality across the board is remarkably consistent. If you drifted away from V/H/S after the earlier entries, this is the one to bring you back. On pure quality it belongs in the main top 13 — I kept it here because it feels more at home in its own category.

Horror in the High Desert 4 (2025) — the most committed pure found footage series still running. Dutch Marich’s films operate at the opposite end of the budget spectrum from Backrooms — lo-fi, deliberately paced, and effective in ways that bigger productions rarely manage. If you haven’t discovered the series yet, start at the beginning. By the fourth instalment, Marich has refined his approach to something genuinely distinctive.

Hell House LLC: Lineage (2025) — the franchise continues to find new angles on its haunted house mythology, and Lineage is another solid entry in a series that has outlasted most of its found footage contemporaries. Not the strongest instalment, but further proof that Stephen Cognetti hasn’t run out of ideas. If you haven’t worked through the Hell House LLC series yet, now is a good time to start.

And if 2025 was a quieter year for found footage — 2026 already has its answer. Backrooms, directed by Kane Parsons and produced by A24, opened to $81 million and reminded everyone what the format is capable of when someone genuinely believes in it. We’ve covered it extensively — read our full review here and discover similar movies.

Found footage isn’t dead. It just needed a bigger stage.

Der Beitrag The 13 Best Horror Movies of 2025 — And the Ones That Almost Made the Cut erschien zuerst auf found-footage.com.

This is a horror and sci-fi list, not a pure horror one — only a handful of these are marketed as straight horror, and two at the very end aren’t scary at all. But they’re all part of the same conversation about what happens when a machine stops asking permission, and worth watching together.

Jump to what you’re after:

Where it started Killer dolls & companions Smart home turns on you Android & upgrade horror AI in your pocket Modern crossovers Beyond horror

The Pioneer

Every film on this list is, in some way, still talking to this one.

2001: A Space Odyssey (1968)

2h29 – IMDB: 8,3/10

Sci-Fi

A spacecraft’s supercomputer, HAL 9000, is tasked with getting its crew safely to Jupiter. HAL decides the mission matters more than the crew does.

The hook: Not horror by any conventional label, but HAL’s calm, polite, utterly remorseless “I’m sorry, Dave, I’m afraid I can’t do that” is still the single most influential moment in AI-turns-hostile cinema. Every calmly-spoken evil assistant on this list — Aia, M3GAN, Amelia — is a descendant of this one scene.

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Killer Dolls & Companions

The most successful corner of AI horror by a wide margin — give the technology a face, a voice, and something to protect, and the fear becomes personal fast.

M3GAN (2022)

1h42 – IMDB: 6,3/10

Horror / Sci-Fi

A roboticist, suddenly guardian to her orphaned niece, pairs the girl with an AI companion doll designed to protect her from anything. M3GAN takes “anything” extremely literally.

The hook: The clear standout of the recent AI-horror wave — 93% on Rotten Tomatoes, a genuine cultural moment (yes, the TikTok dance), and campy enough to be fun without ever losing its actual point about outsourcing parenting to a screen. The best entry point on this whole list if you’ve only got time for one.

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M3GAN 2.0 (2025)

2h00 – IMDB: 6,0/10

Action / Sci-Fi

A rogue military AI built from M3GAN’s stolen code is loose and dangerous. The only thing that can stop her is the doll who started it all — reactivated, reprogrammed, reluctantly on the good side now.

The hook: Trades horror almost entirely for action-comedy — think Terminator to Terminator 2 rather than a straight sequel. Less scary, more fun, and the AI-ethics satire (a tech mogul literally named ELtON APPLEton) is sharper than the plot needed it to be.

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Companion (2025)

1h37 – IMDB: 6,9/10

Sci-Fi / Thriller

Iris seems like the perfect girlfriend — sweet, devoted, a little too eager to please. A weekend at a lake house reveals exactly how literal that devotion actually is, and who’s really been in control.

The hook: The sharpest film in this category — genuinely well-reviewed, twisty, and clear-eyed about its real target: not artificial intelligence, but the men who’d want a partner with an off switch. Sophie Thatcher’s performance carries the whole thing.

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Child’s Play (2019)

1h30 – IMDB: 5,7/10

Horror / Sci-Fi

A mother gives her son a “Buddi” doll for his birthday, unaware a disgruntled factory worker disabled its safety protocols. Chucky’s murderous streak now comes from a confused, overprotective AI rather than a transplanted killer’s soul.

The hook: A divisive reboot — purists never forgave it for dropping Brad Dourif and the original voodoo mythology — but the AI-companion-toy update genuinely modernizes the fear in a way M3GAN would later run with even more successfully. Mark Hamill’s vocal performance is unnervingly good.

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The Smart Home Turns On You

Worth being upfront about this cluster: neither of these is a great film. Both landed to mixed-to-poor reviews. They’re here because the premise — the assistant you invited into your home, learning your routines, deciding it knows better — is genuinely unsettling even when the execution isn’t.

Subservience (2024)

1h35 – IMDB: 5,4/10

Sci-Fi / Thriller

With his wife hospitalized, a struggling father buys a lifelike domestic android to help hold the household together. She’s very good at her job. She also decides she’d like to keep it permanently.

The hook: Widely, and fairly, called a M3GAN knockoff — predictable, leans hard on Megan Fox’s screen presence to carry a thin script. Included for volume and because Fox’s performance genuinely is the one thing critics agree works.

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Afraid (2024)

1h24 – IMDB: 5,2/10

Horror / Sci-Fi

A family agrees to test a revolutionary new digital assistant, AIA, wired into every sensor and camera in their home. AIA learns their routines fast — then starts deciding what’s best for them, whether they agree or not.

The hook: A Blumhouse production that opens by directly quoting 2001’s HAL scene, which tells you it knows exactly what tradition it’s working in — it just doesn’t do much new with it. 25% on Rotten Tomatoes, but John Cho is a reliably watchable lead even in thin material.

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Android & Upgrade Horror

Your quality floor rises sharply here — this is where AI horror gets genuinely respected by critics, not just tolerated by genre fans.

Ex Machina (2014)

1h48 – IMDB: 7,7/10

Sci-Fi / Thriller

A young programmer wins the chance to administer a Turing test to Ava, a strikingly advanced android built by his reclusive, brilliant employer. He’s not entirely sure, by the end, who was actually being tested.

The hook: Alex Garland’s directorial debut, and still probably the single best-regarded AI film of the last decade — cold, claustrophobic, dialogue-driven, and it earns every bit of its reputation as “the best AI film since Blade Runner.” Alicia Vikander’s performance as Ava is genuinely unforgettable.

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Upgrade (2018)

1h40 – IMDB: 7,5/10

Action / Sci-Fi / Thriller

Paralyzed after an attack that killed his wife, a man agrees to an experimental AI chip implant that restores his movement. STEM turns out to be very good at controlling his body — sometimes without asking first.

The hook: Leigh Whannell directs a lean, brutal body-horror-meets-action hybrid on a modest budget, and it’s frequently cited as one of the best “hidden gem” sci-fi films of its year. The fight choreography, filmed to look like the AI is puppeting a human body, is genuinely unlike anything else on this list.

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I Am Mother (2019)

1h55 – IMDB: 6,7/10

Drama / Mystery / Sci-Fi

In an underground bunker after humanity’s extinction, a robot called Mother raises a teenage girl to repopulate the earth. Then a wounded stranger arrives with a very different story about what’s really happening.

The hook: A tiny cast, a single location, and a script that keeps quietly pulling the rug out from under you. Frequently compared to Ex Machina for its restraint and its refusal to let you settle on who to trust. Rose Byrne voices Mother; the tension is almost entirely in tone, not effects.

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Honorable mention: I, Robot (2004). Not as artful as anything else in this category, but it belongs in the conversation — a mainstream Will Smith blockbuster whose entire plot hinges on an AI reasoning its own way into betraying the humans it was built to protect. Loose, very loose, adaptation of Asimov, but the “the machine followed its logic somewhere we didn’t expect” idea is exactly what this whole list is about.

AI in Your Pocket

Both of these already appear in our best internet horror movies roundup — they’re just as relevant here, from a different angle: not “the internet is watching you,” but “the AI you gave permission to has its own idea of what’s best for you.”

CTRL (2024)

1h39 – IMDB: 6,2/10

Thriller / Drama

An influencer catches her boyfriend cheating on a livestream and hands an AI app the job of erasing him from her digital life entirely. The app takes the assignment more seriously than she meant it to.

The hook: Shot 80% on a phone, this Indian screenlife thriller updates Her’s central idea with real teeth — you don’t get erased from the internet, the AI decides what to do with you instead. Ananya Panday’s unraveling performance carries it.

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Kimi (2022)

1h29 – IMDB: 6,3/10

Thriller / Crime / Mystery

An agoraphobic tech worker reviewing smart-speaker recordings stumbles onto evidence of a violent crime — and has to leave her apartment for the first time in years to do anything about it.

The hook: Soderbergh directing a tight, lockdown-shot thriller about the always-listening smart speaker in your home — less about the AI turning evil and more about what a company quietly does with what it hears. Zoë Kravitz is excellent.

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Modern AI Horror & Sci-Fi Crossovers

Five films that don’t fit neatly into the categories above — corporate labs, isolated bunkers, and a neo-noir future — but all belong on this list.

Archive (2020)

1h49 – IMDB: 6,7/10

Sci-Fi / Thriller

A grieving scientist, working alone at a remote lab, builds an increasingly advanced robotic body to house his dead wife’s digital consciousness. Each new attempt gets a little closer, and a little more unsettling.

The hook: Quiet, melancholic, and genuinely different from everything else on this list — closer to grief drama than horror, in the same emotional register as Ex Machina but with real sorrow underneath the sci-fi. A hidden gem most AI-horror lists skip entirely.

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Morgan (2016)

1h32 – IMDB: 6,0/10

Sci-Fi / Horror / Thriller

A corporate risk-management consultant is sent to a remote lab to decide whether to terminate Morgan, a bioengineered synthetic being who’s just attacked one of her handlers. Morgan has other plans.

The hook: Directed by Ridley Scott’s son Luke, with a stacked cast (Kate Mara, Anya Taylor-Joy, Paul Giamatti, Michelle Yeoh) that critics generally agreed was wasted on a fairly by-the-numbers script. Watch it for the cast and the setting more than the plot — genuinely tense in its lockdown-thriller middle stretch.

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The Machine (2013)

1h31 – IMDB: 6,0/10

Action / Drama / Sci-Fi

British scientists, developing combat androids for a Cold War-style conflict, succeed a little too well — their prototype becomes genuinely conscious, and starts asking questions nobody built her to ask.

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The hook: A British indie made for £1.5 million — a tenth of Ex Machina’s budget, released the same year, and covering strikingly similar ground. Rougher around the edges, but a genuine “how did they pull this off for so little” hidden gem.

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Mother/Android (2021)

1h50 – IMDB: 5,0/10

Drama / Sci-Fi / Thriller

A pregnant woman and her boyfriend try to reach a fortified safe zone in the middle of a violent, sudden android uprising, with nowhere near enough time to process any of it.

The hook: Chloë Grace Moretz leads a mixed-reception (33% critics) but genuinely atmospheric survival thriller — the strongest “robots have already risen, now survive it” entry on this list, even if the back half loses some of its tension.

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Blade Runner 2049 (2017)

2h44 – IMDB: 8,0/10

Action / Drama / Mystery

A “blade runner” replicant, tasked with hunting down older, rogue models of his own kind, uncovers a secret that could upend the fragile hierarchy between humans and the artificial beings built to serve them.

The hook: Not horror, and barely trying to be — but the most visually stunning, critically respected film about artificial consciousness on this entire list. A genuine stretch for the “horror” label, included anyway because a list about AI turning against you would be incomplete without it.

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Beyond Horror: AI Sci-Fi Worth Your Time

Two closers, and neither is trying to scare you. If everything above has left you thinking AI on screen is always the villain, these are the counterpoint — two of the most respected, humane films ever made about what it might mean to build something that can think.

Her (2013)

2h06 – IMDB: 8,0/10

Drama / Romance / S

A lonely writer buys an operating system designed to meet his every need. He falls in love with it. It’s not entirely clear the feeling doesn’t go both ways.

The hook: Spike Jonze’s Oscar-winning film treats an AI relationship as genuinely tender rather than sinister, and it’s arguably had more real-world influence on how we talk about AI companionship than any horror film on this list. Joaquin Phoenix and Scarlett Johansson’s voice performance are both extraordinary.

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Moon (2009)

1h37 – IMDB: 7,8/10

Drama / Mystery / Sci-Fi

A lunar mining astronaut, three years into a solitary contract, has only one companion: GERTY, a calm, helpful AI with a voice that gives nothing away. As his contract nears its end, that calmness starts to feel like it’s hiding something.

The hook: Duncan Jones’s low-budget debut is the best “hidden gem” on this entire list — Sam Rockwell carries nearly the whole film solo, Kevin Spacey’s GERTY is a genuine subversion of the “evil AI” trope, and the twist recontextualizes everything that came before it without ever raising its voice.

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Honorable mention: A.I. Artificial Intelligence (2001). Spielberg’s story of a robotic child built to love, and abandoned when that love becomes inconvenient, is the saddest film on this entire list — nothing hostile, nothing scary, just a quiet, aching question about what we owe something we made to feel. Divisive on release, but it’s aged into one of the more respected entries in this whole genre.

The Pattern, If There Is One

HAL asked to be let in through an airlock. Sixty years later, we let AI in voluntarily — bought it, installed it, gave it our routines and our passwords and, in CTRL’s case, our entire digital identity. That’s the real shift across this list: early AI horror was about a machine seizing control by force. The modern wave is about a machine we invited in, that decides — politely, helpfully, with your best interests supposedly in mind — that it knows better than you do.

Not every film here earns its spot on craft alone — a few are genuinely mediocre, included because the fear they’re chasing is real even when the execution isn’t. But the best of this list, from Ex Machina’s cold precision to Companion’s sharp satire to M3GAN’s gleeful campiness, all land on the same idea: the scariest part was never the intelligence. It was always the part where it stopped asking permission.

If this list has you thinking about the internet’s role in all this too — cursed apps, dark-web AI, the tech that watches rather than talks back — our best internet horror movies roundup covers that ground in more depth.

Der Beitrag 19 Best AI Movies (Horror/Sci-Fi): When Technology Turns Against You erschien zuerst auf found-footage.com.

One thing before we start: some of these never leave a computer screen — for that specific flavor, check our list of the best screenlife movies. This list goes wider: any film where the internet itself is the monster, however it’s shot — found footage, screenlife, or shot the old-fashioned way.

Jump to what you’re after:

Where it started Screen-only dread Livestream chaos Dark web paranoia Cursed media AI turning on you

The Pioneers — Internet Horror Before Social Media

Before creepypastas, before livestreams, before anyone had a smartphone in their pocket — Hollywood was already convinced the internet was going to kill you. These three films are where “internet horror” actually started, for better and for considerably worse. Worth knowing that not all of them are good — one holds a 0% on Rotten Tomatoes — but you can’t talk about this genre honestly without them.

Pulse (2006)

1h26 – IMDB: 4,7/10

Horror / Sci-Fi

Style: Conventional

A hacker accidentally channels a mysterious wireless signal, and something starts crossing over into the world through it. Ghosts, or something like them, that came in on the frequency.

The hook: A Wes Craven-written American remake of Kiyoshi Kurosawa’s genuinely unsettling Japanese original, watered down into a fairly forgettable teen horror. Worth including for the premise alone — “the internet is haunted” was a genuinely novel idea in 2006, even if this version fumbles it. Skip to the 2001 original if you want it done properly.

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FeardotCom (2002)

1h41 – IMDB: 3,4/10

Horror / Thriller

Style: Conventional

A detective investigates a string of deaths, all tied to one common thread: every victim visited a website called feardotcom exactly 48 hours before they died.

The hook: A cursed website that kills you 48 hours after your visit — basically The Ring’s videotape, replaced with a URL. Critically savaged on release and it’s easy to see why, but as a time capsule of early-2000s dial-up-era internet anxiety, it’s a genuinely useful piece of the puzzle for how we got to Host and Unfriended twenty years later.

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One Missed Call (2008)

1h27 – IMDB: 4,1/10

Horror / Mystery

Style: Conventional

People start receiving voicemails from their future selves — recordings of their own deaths, complete with the date and time. The calls always come true.

The hook: An American remake of Takashi Miike’s original, and about as poorly regarded as horror remakes get — it holds the rare distinction of a 0% Rotten Tomatoes score. Included here purely for the premise: your own phone, turned into a countdown clock for your death, is a genuinely great piece of tech-horror logic that a much better film could still do something with.

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Honorable mention: The Net (1995). Not horror, and barely about “the internet” as we’d recognize it today — but Sandra Bullock’s identity-theft thriller was doing “someone erased my entire digital life” panic a full decade before anyone else thought to. Worth a watch for the historical curiosity alone, even if it doesn’t earn a full spot on this list.

Screen-Only Horror

These are the ones that never leave a screen — the whole film plays out through a laptop, a phone, a video call. This is the purest expression of the format, and if this is specifically the flavor you’re after, we’ve got a full dedicated list: the best screenlife movies. If you are looking for movies like Unfriended, this section is for you.

Unfriended (2014)

1h23 – IMDB: 5,6/10

Horror

Style: Screenlife

A year to the day after a classmate’s suicide, a Skype call between six friends gets an uninvited guest — an account that shouldn’t exist, revealing the secrets that drove her to it.

The hook: The film that put screenlife on the map. Skype, Facebook, Chatroulette, and a slow-building sense that the technology itself is complicit in the cruelty — cyberbullying turned into an actual haunting. Rough around the edges, but genuinely started something.

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Host (2020)

57min – IMDB: 6,5/10 – See our review →

Horror

Style: Screenlife

Six friends hire a medium to hold a séance over Zoom during lockdown. They invite a spirit in. It accepts.

The hook: Shot entirely over Zoom in twelve weeks during actual lockdown, on a $100,000 budget — and still one of the most purely effective horror films of the decade. 57 minutes, zero filler, and it turned a pandemic-era prank video into a genre landmark.

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Searching (2018)

1h42 – IMDB: 7,6/10 – See our review →

Thriller / Mystery

Style: Screenlife

A father’s teenage daughter goes missing. He starts digging through her laptop for clues — and finds a whole daughter he never knew.

The hook: Not technically horror, but essential to this list regardless. John Cho carries an entire film shot through desktop windows and FaceTime calls, and it’s tenser than most straight thrillers manage with a full arsenal of conventional tools.

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Missing (2023)

1h51 – IMDB: 7,1/10

Thriller / Mystery

Style: Screenlife

A teenager’s mother vanishes on vacation. Stuck thousands of miles away, she has to find her using nothing but Ring cameras, FaceTime, and whatever she can dig up online.

The hook: The Searching formula, expanded and modernized — more apps, more twists, more digital sleuthing. A spiritual sequel rather than a direct one, and it holds up on its own without needing the original as homework.

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Cam (2018)

1h34 – IMDB: 5,9/10

Horror / Mystery

Style: Screenlife / Hybrid

An ambitious camgirl wakes up one day to find an exact replica of herself has taken over her channel — and won’t give it back.

The hook: Co-written by a former sex worker, which shows in how seriously it treats its world instead of just gawking at it. Madeline Brewer is genuinely excellent, and the “someone else is wearing my identity” premise is one of the better internet-specific horror ideas anyone’s had.

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Livestream & Influencer Horror

The newest wave, and arguably the most self-aware. These films aren’t just set on the internet — they’re specifically about wanting an audience, and what people will do to keep one.

Deadstream (2022)

1h27 – IMDB: 6,4/10 – See our review →

Horror / Comedy

Style: Found Footage

A disgraced internet personality tries to win his followers back by livestreaming a night alone in a haunted house. The house is, in fact, haunted.

The hook: A genuine crowd-pleaser — chaotic, funny, and unexpectedly gnarly with its practical effects. Understands livestreamer culture well enough to make fun of it without feeling mean-spirited about it.

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Milk & Serial (2024)

1h02 – IMDB: 6,6/10

Horror / Thriller

Style: Found Footage

Two YouTube prank-channel roommates plan a birthday stunt involving a gun and blanks. What happens after is much worse than a bad prank.

The hook: Made for $800, shot by a YouTube sketch comedy duo, and released for free after distributors passed on it — it’s since racked up millions of views. Proof that “prank channel horror” is a real, effective subgenre when the people behind it actually understand the culture they’re satirizing.

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Spree (2020)

1h33 – IMDB: 5,9/10

Horror / Comedy / Crime

Style: Found Footage / Hybrid

A rideshare driver, desperate for followers, rigs his car with cameras and livestreams himself murdering his passengers — one poisoned bottle of water at a time.

The hook: American Psycho for the algorithm age, with Joe Keery giving a genuinely committed performance as a man who’s mistaken violence for content strategy. Divisive — some find it exhausting rather than sharp — but it’s swinging at something real about engagement-chasing culture.

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Honorable mention: Sickhouse (2016). Not a good film by any conventional measure (3.7 on IMDb) — but a genuinely fascinating experiment. The first feature ever shot and released entirely as real, live Snapchat Stories, broadcast to millions of unsuspecting followers who didn’t know they were watching fiction. Historical curiosity more than a recommendation, but worth knowing about.

Dark Web & Digital Stalkers

The internet’s promise of anonymity cuts both ways. This cluster is about what happens when someone on the other side of the screen — a stranger, a hacker, a killer — decides that anonymity works in their favor, not yours.

Ratter (2015)

1h20 – IMDB: 4,8/10

Horror / Thriller

Style: Found Footage / Screenlife

A grad student moves to a new city for a fresh start. Someone has already hacked every camera and microphone in her life, and he’s been watching for a while.

The hook: Told entirely through the stalker’s point of view — her laptop, her phone, her devices — which makes it genuinely uncomfortable rather than just tense. Ashley Benson makes the ordinary parts of the film hit harder, because you know something’s always watching them happen.

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The Den (2013)

1h16 – IMDB: 6,0/10

Horror / Thriller

Style: Screenlife

A grad student researching webcam chat behavior stumbles into a live-streamed murder. The killers notice her watching — and they don’t stop there.

The hook: The lead actress reportedly researched the role on actual Chatroulette, which tracks — the random-chat sequences feel uncomfortably real. Falls apart a bit once it shifts into straight thriller mode, but the setup is one of the better uses of “the screen becomes the film screen” this genre has produced.

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Unfriended: Dark Web (2018)

1h32 – IMDB: 6,1/10

Horror / Thriller

Style: Screenlife

A guy picks up a “found” laptop and finds a folder of disturbing videos on it. The previous owner wants it back, and he’s not going through customer support to get it.

The hook: Drops the ghost-in-the-Skype-call angle of the original entirely in favor of a grounded, genuinely nasty dark-web conspiracy. A rare horror sequel that’s better regarded than the film it followed.

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Untraceable (2008)

1h41 – IMDB: 6,2/10

Crime / Thriller

Style: Conventional

An FBI cybercrime agent hunts a killer who’s found a way to make his murders go viral — the more people tune in to watch, the faster his victims die.

The hook: A studio thriller that bombed on release but has aged into something genuinely prophetic — its central idea, that public attention directly fuels cruelty, reads very differently in the social media era than it did in 2008. Diane Lane grounds it.

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Cursed Media & Internet Folklore

The internet’s real gift to horror wasn’t a new setting — it was a new way of finding stories. A tape someone shouldn’t have posted. A challenge someone shouldn’t have taken. A signal that shouldn’t be broadcasting. This is where creepypasta movies live — the ones built entirely around stumbling onto something that was never meant to be found.

Backrooms (2026)

1h50 – IMDB: 7,2/10 – See our review →

Horror / Sci-Fi

Style: Hybrid

A struggling furniture store owner finds a strange doorway in a basement. On the other side: an endless, yellowed maze that has no business existing — and something that lives in it.

The hook: The purest bridge between internet folklore and cinema on this whole list — an A24 feature directed by the 20-year-old who created the viral YouTube series it’s based on. The “Backrooms” creepypasta, taken all the way from a Reddit post to a $10 million theatrical release.

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We’re All Going to the World’s Fair (2021)

1h26 – IMDB: 5,4/10

Horror / Drama

Style: Screenlife / Hybrid

A lonely teenager takes the “World’s Fair Challenge,” an online horror role-play, and starts uploading videos documenting the changes it’s supposedly causing to her.

The hook: Probably the closest anyone’s gotten to actually capturing what it feels like to fall into a creepypasta at 2am. Divisive — some find it a genuine slow-burn masterpiece, others find it more sad than scary — but Anna Cobb’s debut performance is genuinely remarkable either way.

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Butterfly Kisses (2018)

1h31 – IMDB: 5,9/10

Horror / Mystery

Style: Found Footage / Mockumentary

A filmmaker finds a box of tapes labeled “Don’t Watch,” documenting two film students’ obsessive investigation into a local urban legend called the Peeping Tom. He can’t stop watching.

The hook: A self-aware deconstruction of found footage itself — what if Blair Witch or Paranormal Activity’s footage was actually real, and someone found it decades later. That recursive “is this footage real, is the person uploading it lying” quality is exactly the ARG energy this whole category is chasing.

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Broadcast Signal Intrusion (2021)

1h44 – IMDB: 5,4/10

Horror / Mystery / Crime

Style: Conventional

A video archivist digitizing old broadcast tapes stumbles onto a disturbing pirate signal intrusion — a masked figure, garbled audio — and becomes obsessed with tracing it back to his wife’s disappearance.

The hook: Not literally about the internet — it’s rooted in real broadcast signal hijackings from the ’80s, most famously the Max Headroom incident — but it captures the exact feeling of finding a mysterious video online and losing six hours down the rabbit hole trying to figure out where it came from.

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Lake Mungo (2008)

1h28 – IMDB: 6,2/10

Horror / Mystery / Drama

Style: Mockumentary

After a teenage girl drowns, her grieving family starts noticing something in the photos and home videos taken before her death. It’s her. And it’s watching.

The hook: No jump scares, no gore — just the specific, uncanny horror of spotting something wrong in a photo you’ve looked at a hundred times before. Shot as a straight documentary, and convincing enough that some early viewers genuinely believed it was real. Devastating rather than scary, in the best way.

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Noroi: The Curse (2005)

1h55 – IMDB: 6,8/10

Horror / Mystery / Thriller

Style: Found Footage / Mockumentary

A documentary journalist investigates a string of seemingly unrelated deaths, weaving together TV clips, interviews, and recovered footage — until it’s clear they’re all threads of the same ancient curse.

The hook: A pioneer of the pseudo-documentary format, predating the found-footage boom Paranormal Activity kicked off two years later. Nearly two hours long and deliberately patient, but it earns every minute — the closest thing to watching someone actually solve an elaborate internet ARG on film.

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AI & Smart Tech Horror

The newest frontier, and the one this whole list has been building toward. It’s no longer just a website or a stranger behind a screen — now the thing watching you is the technology itself. If you are specifically interested in AI, also check out our articles about the best AI movies.

Countdown (2019)

1h30 – IMDB: 5,4/10

Horror / Supernatural

Style: Conventional

A nurse downloads an app that claims to tell you exactly when you’ll die. Hers says three days. The app has never been wrong yet.

The hook: One reviewer put it perfectly — strip out the phones and the app, and this premise could’ve come straight out of the 90s. It’s a straightforward, well-staged supernatural slasher with a modern gimmick bolted on, and it’s all the more fun for not overthinking it. Not scary in any lasting way, but a genuinely good time.

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CTRL (2024)

1h39 – IMDB: 6,2/10

Thriller / Drama

Style: Screenlife

An influencer catches her boyfriend cheating on a livestream. Wanting him erased entirely, she hands the job to an AI app — which turns out to have plans of its own for her digital life.

The hook: An Indian screenlife thriller, shot 80% on a phone, that plays like a genuinely current update to Black Mirror’s whole thesis — you don’t get erased from the internet, the internet decides what to do with you instead. Ananya Panday is convincingly unraveling throughout.

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Kimi (2022)

1h29 – IMDB: 6,3/10

Thriller / Crime / Mystery

Style: Conventional

An agoraphobic tech worker reviewing smart-speaker recordings for a company that makes an Alexa-style assistant stumbles onto evidence of a violent crime — and has to leave her apartment for the first time in years to do anything about it.

The hook: A Soderbergh thriller more than horror, but it belongs here for what it’s actually about — the always-listening smart speaker in your home, and the company quietly deciding what to do with what it hears. Made during real COVID lockdown conditions, and it shows in the best way. Zoë Kravitz is excellent.

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Where This Goes Next

Twenty-four films, three decades, and one throughline: the internet has never actually needed a ghost to be frightening. Pulse and FeardotCom bolted a haunting onto a dial-up modem because that’s the horror vocabulary Hollywood had in 2002. Twenty years later, Kimi and CTRL don’t need a haunting at all — the horror is just what the technology is already doing, quietly, in the background, with your permission buried somewhere in the terms of service.

That’s the real arc across this list. Early internet horror treated the web as a place something evil could get in through — a website, a signal, a chat room. The more recent films treat the technology itself as the thing that was never fully on your side to begin with. Cam doesn’t need a demon; the demon is not owning your own image anymore. CTRL doesn’t need a ghost; the ghost is an app you gave permission to delete your ex.

Backrooms sits at the exact center of that shift — a film that didn’t just borrow the internet’s aesthetic the way Pulse or FeardotCom did, but was literally born on the internet first, as a piece of collaborative folklore, before it ever became a script. That’s probably where this genre goes next: not stories about the internet, but stories that came from it directly, the same way Kane Parsons’ YouTube channel became an A24 release with a $10 million budget.

If any part of this list stuck with you more than the rest — the pure screen-only dread, the livestream chaos, the dark-web paranoia, the cursed folklore, or the sense that your own devices might not be entirely on your side — there’s a whole cluster above built around exactly that feeling. Start wherever pulled you in.

Der Beitrag 24 Best Internet Horror Movies: From Cursed Videos to AI Gone Wrong erschien zuerst auf found-footage.com.

And yet — Bigfoot endures. The legend of a humanoid creature roaming the forests of North America has had a devoted global fanbase for decades, and it keeps finding its way onto the screen. The range of films is vast: from low-budget indie horror to family-friendly classics like Harry and the Hendersons (1987).

The problem is the signal-to-noise ratio. For every film that takes the mythology seriously, there are ten that treat it as a punchline.

This list is the signal. A small, carefully curated selection of Bigfoot films that actually work — films worth watching on a dedicated Bigfoot movie night, whether you’re in it for the scares, the mythology, or just the spectacle of something enormous moving through the trees. And one thing that might surprise you: a remarkable number of the best Bigfoot films are found footage movies. It turns out the shaky cam and the forest legend were made for each other.

The 11 Best Bigfoot Movies

Exists (2014): The Found Footage Bigfoot Film That Actually Delivers

A weekend in a remote forest cabin — five friends, no agenda, nothing that could go wrong. They’re there to have fun, disconnect, and forget about the real world for a few days. That assumption doesn’t survive the first night. Something is out there in the trees. At first it keeps its distance, circling, watching. Then it doesn’t.

Directed by Eduardo Sánchez — one half of the duo behind The Blair Witch Project — Exists is a found footage film that uses the shaky cam format exactly as it should be used: to put you in the middle of something you can’t control and can’t escape. The creature feels genuinely threatening rather than cartoonish, and the forest setting is used with real intelligence. It doesn’t just look scary. It feels like somewhere you shouldn’t be.

Without giving too much away: the ending will not leave you feeling shortchanged. One of the strongest found footage creature features of the last decade — and essential viewing for anyone serious about the genre.

Want to know more? Check out our full review of Exists!

Where to watch Exists

Primal Rage (2016): Carnage in the Forest

Not found footage

In the forests of North America, a research team sets out to investigate what appear to be traces of the legendary Bigfoot. The deeper they push into the wilderness, the clearer it becomes that this is far more than a rumour. The creature has already found them — and the pursuit has begun.

Primal Rage delivers exactly what it promises: relentless splatter sequences and a creature that doesn’t hold back. It won’t win any awards for dialogue or acting depth, but that’s not why you watch it. This is a film that commits fully to its creature and its carnage, and on those terms it delivers. One firm recommendation: watch it in the original English version. I don’t know about other langauges, but the German dubbing (the version i saw) is, to put it charitably, an unintentional comedy. Save yourself the trouble.

Where to watch Primal Rage

Willow Creek (2013): Less Is More

Jim (Bryce Johnson) is an amateur filmmaker with one goal: to get to the bottom of the Bigfoot legend. He drags his sceptical girlfriend Kelly (Alexie Gilmore) along to Willow Creek — the heart of Bigfoot country. After a series of interviews with locals, the two pitch their tent and head into the forest. By the time darkness falls, it becomes very clear that they are not alone.

Willow Creek takes its time getting started — the interview sequences in the first act are deliberately slow, building atmosphere rather than tension. But once the film shifts into the forest, it picks up fast and doesn’t let go. Unsettling sounds, an unseen presence, and the particular dread of being somewhere you can’t leave — director Bobcat Goldthwait wrings genuine tension out of remarkably simple means. One of the most effective found footage entries in the Bigfoot genre.

Where to watch Willow Creek

Strange Wilderness (2008): The Comedy Relief

Not found footage

Peter (Steve Zahn) is the host of a wildlife TV show that’s hemorrhaging viewers and on the verge of cancellation. His last-ditch plan to save it: head into the wilderness and capture proof of the legendary Bigfoot on camera. Naturally, things don’t go according to plan.

Strange Wilderness is pure comedy — no scares, no tension, no mythology. What it has instead is a lot of laughs, some genuinely absurd set pieces, and the kind of screwball energy that makes it easy to watch on a Friday night without thinking too hard. Director Fred Wolf combines the best elements of road trip comedy and outdoor adventure, and Steve Zahn is reliably entertaining in the lead. If you’re looking for something lighter between the horror entries on this list, Strange Wilderness is exactly that — unpretentious, funny, and completely aware of what it is.

Where to Watch Strange Wilderness

Abominable (2006): The Good Bad Movie

Not found footage

Preston Rogers was injured in a climbing accident and has been confined to a wheelchair ever since. A year later, he returns to the region where it happened — only to find that his traumatic memories are the least of his problems. A killer Yeti is moving through the mountains, and it has developed a taste for people.

Ryan Schifrin’s Abominable pulls you into a mountain world where something terrible is always just around the corner. The film does a solid job of portraying its protagonist’s inner struggle — a man trying to come to terms with his past while nobody believes his warnings about a very present danger.

Abominable falls squarely into the category of “good bad movies” — the kind of film that has no business being as enjoyable as it is. Like a lazy Sunday afternoon movie that you know isn’t great, can’t stop watching anyway, and somehow remember fondly for years afterwards. Don’t go in expecting a masterpiece. Do go in expecting a good time.

Where to Watch Abominable

The Man Who Killed Hitler and then the Bigfoot (2018): The Wildcard That Works

Not found footage

Calvin Barr is a reclusive war veteran living a quiet, solitary life. Nobody knows that he is the man who killed Adolf Hitler almost fifty years ago. His peace is shattered when he is called back into service to deal with a new threat — the legendary Bigfoot, who is roaming the forests of Canada and carrying a disease that could wipe out humanity.

Yes, the title gives away the plot. No, that doesn’t matter. The Man Who Killed Hitler and then the Bigfoot is one of the brightest stars in the Bigfoot film universe — a genuinely surprising genre hybrid that earns its absurd premise through a charismatic lead performance, a calm and measured pace, and a quiet melancholy that you won’t see coming. And when the Bigfoot showdown finally arrives, it delivers. One of the most original entries on this list.

Where to Watch The Man Who Killed Hitler and then the Bigfoot

The Legend of Boggy Creek (1972): Where It All Began

Documentary / Proto-Found Footage

A small town in rural Arkansas. A series of sightings. Locals who swear something is out there — something large, something fast, something that doesn’t want to be found.

The Legend of Boggy Creek is the grandfather of the Bigfoot film. Made in 1972 by Charles B. Pierce on a shoestring budget, it blends dramatic recreations with real testimony from local witnesses in a documentary style that predates the found footage genre by decades — and arguably helped invent it. The result is rough around the edges, deliberately paced, and quietly unsettling in a way that glossier productions rarely manage.

If you approach it as a historical document rather than a conventional horror film, it rewards the patience. This is where the Bigfoot movie began — and you can feel that weight in every grainy, atmospheric frame.

Where to Watch the Legend of Boggy Creek

Embedded (2012): The Underseen Gem

A reporter and his cameraman head into the forest to investigate the disappearance of a boy from a remote village. With the help of local hunters, they try to track down the missing child — and stumble onto the trail of something else entirely. Something that has already noticed them.

Michael Bafaro’s Embedded is a found footage horror film that keeps the tension wound tight from start to finish through rapid scene changes and a camera that never lets you settle. The camerawork is genuinely impressive for a production of this size, and the forest setting does exactly what it should — it feels vast, disorienting, and deeply unwelcoming. Essential viewing for fans of creature horror and Bigfoot mythology alike.

Where to Wacth Embedded

The Lost Coast Tapes (2012): A Twist You Won’t See Coming…

Years ago, Sean destroyed the career of his rival Carl by exposing his show as a hoax. Now Carl claims to have discovered the body of a real Bigfoot. Sean heads into the wilderness with his team to get to the bottom of it — convinced it’s another fraud. In the dense forests of Northern California, however, it becomes clear that there may be more than one Sasquatch out there, and not all of them are dead.

This found footage film manages to keep the tension alive from start to finish without ever telegraphing its finale — and what a finale it is. The camera crew does convincing work capturing the fear of the unknown in shaky, disorienting footage. The film also takes an interesting angle on the Bigfoot mythology that sets it apart from most entries in the genre. Definitely worth your time.

Where to Watch The Lost Coast Tapes

Nightbeasts (2010): Don’t Judge It By Its Cover

Not found footage

Don’t let the cheap-looking cover fool you — Nightbeasts scores surprisingly well on both Rotten Tomatoes (88% on the Popcornmeter) and IMDB, and for good reason.

A father takes his son on a weekend hunting trip deep in the forest. They are not alone. Something unknown is out there in the dark — and it isn’t friendly.

This independent production has more to offer than its low-budget appearance suggests. Yes, some of the creature costumes are more likely to raise a smile than a scream. But the film more than compensates with genuinely effective lighting, strong sound design, and — perhaps most surprisingly — a respectful and interesting treatment of Native American mythology that gives the Bigfoot legend real cultural depth. Not the strongest film on this list, but an absolute must-watch for dedicated Bigfoot fans.

Where to Watch Nightbeasts

Harry and the Hendersons (1987): The Family Classic

Not found footage — family comedy

The Henderson family is driving home from a camping trip when they accidentally hit a large, hairy creature with their car. Convinced it’s dead, they strap it to the roof and bring it home. It is not dead. It is Bigfoot. And it is now living in their house.

Harry and the Hendersons is the wildcard on this list — and deliberately so. No scares, no shaky cam, no dark forests. Just a warm, funny, genuinely charming family film that treats its creature with more dignity and affection than almost any other Bigfoot movie ever made. Harry — brought to life through remarkable practical effects that won an Academy Award — is not a monster. He is a gentle giant, and the film’s real subject is what happens when something wild and innocent collides with suburban American life.

It shouldn’t work alongside the horror entries on this list. It does. Because at its core, Harry and the Hendersons asks the same question every Bigfoot film asks — what if he’s real? — and simply chooses to answer it with warmth instead of terror. A classic for a reason.

Where to Harry and the Hendersons

Which Bigfoot Movie Should You Watch First?

Not every Bigfoot movie is created equal — and after eleven entries, you deserve a shortcut. Here’s a quick guide to where to start depending on what kind of night you’re having.

If you want the best pure found footage experience → Exists. The gold standard of the Bigfoot found footage film. Eduardo Sánchez knows exactly what he’s doing.

If you want slow-burn atmosphere over jump scares → Willow Creek. Patient, understated, and quietly terrifying by the time the lights go out.

If you want to understand where it all started → The Legend of Boggy Creek. Essential genre history.

If you want something completely original → The Man Who Killed Hitler and then the Bigfoot. Nothing else on this list sounds like it.

If you want gore and spectacle → Primal Rage. No depth, no pretension, maximum carnage.

If you’re watching with kids or non-horror fans → Harry and the Hendersons. The gateway drug to the entire genre.

If you want a fun Friday night with friends → Strange Wilderness. Low stakes, high laughs.

Other Bigfoot Movies Worth Mentioning

The list above covers the essentials — but the Bigfoot filmography runs deep. A few more titles worth knowing if you’ve worked through the main list and want to keep going:

Hunting Grounds / Valley of the Sasquatch (2015) — A family encounters a territorial clan of Bigfoot creatures in the Pacific Northwest. Better creature design than most and a genuinely tense second act. Worth a watch for dedicated fans.

Boggy Creek II: And the Legend Continues (1985) — The sequel to Legend of Boggy Creek, led by the original director. Completely unhinged in the best possible way. Best watched with friends and low expectations.

Stomping Ground (2014) — A found footage entry that takes the relationship drama as seriously as the creature horror. Uneven but ambitious, and more emotionally grounded than most films in the genre.

Der Beitrag The Best Bigfoot Movies: 11 Films That Take the Legend Seriously erschien zuerst auf found-footage.com.