Every Blumhouse movie, ranked, from Get Out down to the bottom of the barrel

Jason Blum built an empire on a simple bet: hand a director a small budget and total freedom, and every so often you get lightning. Most of the time you get a competent scare machine. Some of the time you get Area 51. Below is every released Blumhouse feature film, from the 2009 Paranormal Activity breakout that invented the model through this month, ranked best to worst. Pre-2009 producer credits, TV-network movies, series, shorts, and documentaries sit outside the count. The order is opinion, informed by critical and audience reception and by how much each film actually mattered. Each title links to its film on IMDb.

The masterpieces

1. Get Out (2017): The one that turned a horror shingle into an awards player and rewired the entire genre. Still their peak.
2. Whiplash (2014): Not a horror movie, but the scariest thing they ever made. A perfect, white-knuckle two-hander about ambition as abuse.
3. Us (2019): Peele’s sophomore swing is messier and more ambitious than Get Out, and Lupita Nyong’o gives the best performance in the whole catalog.
4. BlacKkKlansman (2018): Spike Lee’s furious, funny, Oscar-winning true story, and proof Blumhouse could play in any sandbox.
5. The Invisible Man (2020): Leigh Whannell reinvents a Universal Monster as a thriller about gaslighting, anchored by a ferocious Elisabeth Moss.

The greats

6. Split (2017): Shyamalan’s comeback engine, powered by a McAvoy performance that should not work and absolutely does.
7. Sinister (2012): Still one of the most genuinely frightening films of the 2010s. Those Super 8 reels are nightmare fuel.
8. Insidious (2011): The little haunted-house movie that launched a franchise and proved the cheap-and-scary formula could print money.
9. The Black Phone (2022): Derrickson and Ethan Hawke turn a Joe Hill story into a tense, period-perfect kidnapping nightmare.
10. Upgrade (2018): A vicious, hyper-kinetic sci-fi revenge ride that plays like Whannell’s audition for bigger toys. A cult gem.
11. The Gift (2015): Joel Edgerton’s directorial debut is a slow-burn stalker drama with a gut-punch ending. Wildly underrated.
12. Creep (2014): Mark Duplass weaponizes likability in a found-footage two-hander that gets under your skin and stays there.
13. Oculus (2013): Mike Flanagan’s haunted-mirror puzzle box bends time and reality with real craft.
14. Hush (2016): A lean, brutal home-invasion thriller with a deaf protagonist and not an ounce of fat.
15. Paranormal Activity (2009): Fifteen thousand dollars, one fixed camera, and a cultural earthquake. The film that started everything.
16. Halloween (2018): David Gordon Green’s legacy sequel hands Jamie Lee Curtis the reckoning she earned and the franchise its best entry in decades.

The very good

17. Happy Death Day (2017): Groundhog Day with a sorority slasher, and a star-making Jessica Rothe turn. Pure fun.
18. M3GAN (2023): A killer-doll satire that knew exactly how camp it was and danced its way to a franchise.
19. The Visit (2015): Shyamalan’s scrappy found-footage comeback, equal parts hilarious and horrifying.
20. The Purge: Anarchy (2014): The sequel that took the great premise out of the house and into the streets where it belonged.
21. Freaky (2020): A body-swap slasher comedy with Vince Vaughn having the time of his life as a teenage girl in a killer’s body.
22. Vengeance (2022): B.J. Novak’s sharp, melancholy podcast-era satire. The funniest movie on this list with a brain.
23. Sweetheart (2019): A near-wordless creature-feature castaway thriller that deserved a far bigger audience.
24. Nanny (2022): A gorgeous, dread-soaked immigrant fable that won Sundance and got buried on streaming.
25. Insidious: Chapter 2 (2013): A genuinely clever continuation that loops back through the first film with real ambition.
26. Creep 2 (2017): A rare sequel that deepens the first, with Duplass at his most unnervingly vulnerable.
27. Cam (2018): A smart, slippery thriller about a camgirl whose identity gets stolen. Ahead of its time.
28. Speak No Evil (2024): James McAvoy turns the American remake into a crowd-pleasing menace machine.
29. Five Nights at Freddy’s (2023): Critic-proof and fan-beloved, the video game adaptation that became a phenomenon.
30. Soft & Quiet (2022): A real-time descent into hate-group horror that is almost unbearable to sit through, by design.
31. Totally Killer (2023): A time-travel slasher comedy with more wit and heart than it needed to have.
32. The Purge: Election Year (2016): The series at its most gleefully on-the-nose, and better for it.
33. Happy Death Day 2U (2019): A sci-fi swerve that should not work but rides Rothe’s charisma to a worthy follow-up.

The solid scares

34. Insidious: Chapter 3 (2015): A prequel that gives Lin Shaye’s Elise the spotlight she always deserved.
35. Glass (2019): A divisive, fascinating finale to Shyamalan’s secret trilogy. Reaches further than it grasps.
36. The Lost Bus (2025): Paul Greengrass brings his you-are-there intensity to a wildfire rescue drama with McConaughey.
37. Wolf Man (2025): Whannell’s monster-movie body horror is grim and committed, if a notch below his Invisible Man.
38. Drop (2025): Christopher Landon turns a first date and a phone into a tight, nasty single-location thriller.
39. The Purge (2013): A killer premise trapped in a smaller movie than it deserved, but the idea launched a whole universe.
40. The First Purge (2018): A pointed prequel that finally makes the franchise’s politics text instead of subtext.
41. Paranormal Activity 3 (2011): The oscillating-fan camera and the “Bloody Mary” scare make this the best of the sequels.
42. Ma (2019): Octavia Spencer goes gloriously unhinged in a trashy, watchable thriller that knows what it is.
43. Halloween Kills (2021): The angry, mob-rule middle chapter. Messy, but the brutality lands.
44. Black Phone 2 (2025): A bigger, snowier sequel that expands the mythology without losing the first film’s dread.
45. M3GAN 2.0 (2025): Leans into action-comedy over horror. Sillier than the original, still a good time.
46. Ouija: Origin of Evil (2016): Mike Flanagan turns a worthless cash-in into a genuinely good prequel. A minor miracle.
47. In a Valley of Violence (2016): Ti West’s stripped-down revenge Western, with Ethan Hawke and a very good dog.
48. Dashcam (2022): A divisive, motormouthed pandemic-era found-footage ride that is relentless if you can stand the lead.
49. The Town That Dreaded Sundown (2014): A stylish meta-remake that is far better than its release suggested.
50. Unfriended (2015): A gimmick screen-life horror that uses the gimmick better than anyone expected.

The mid-tier and the merely fine

51. The Lords of Salem (2013): Rob Zombie’s most atmospheric, least restrained nightmare. Style for days.
52. Sick (2023): A lean pandemic slasher from Kevin Williamson’s pen. Does exactly what it sets out to do.
53. Lawless (2012): A handsome Prohibition gangster drama with a stacked cast that never quite catches fire.
54. Adopt a Highway (2019): A quiet Ethan Hawke character study, far from the genre lane, and genuinely tender.
55. Stockholm (2019): Ethan Hawke again, in a jaunty take on the bank heist that coined the syndrome.
56. Don’t Let Go (2019): A time-bending phone thriller that is more clever than its quiet release implied.
57. The Vigil (2021): A specific, eerie horror rooted in Orthodox Jewish ritual. Small and effective.
58. Insidious: The Last Key (2018): Lin Shaye carries a franchise running low on ideas but not on warmth.
59. Paranormal Activity 2 (2010): The first sequel smartly builds out the lore. Diminished, but still works.
60. The Forever Purge (2021): A serviceable, border-set finale that goes out on a relevant, ragged note.
61. Halloween Ends (2022): A bold, baffling swerve that alienated the base. Respect the swing, question the result.
62. Mr. Harrigan’s Phone (2022): A gentle, melancholy Stephen King adaptation that is more drama than horror.
63. The Belko Experiment (2017): A nasty office-set battle royale from James Gunn’s pen. Mean fun, if shallow.
64. Sinister 2 (2015): A weaker follow-up that keeps the creepy home movies and little else.
65. The Gallows (2015): A found-footage cheapie that made an absurd profit and not much else.
66. Firestarter (2022): A flat King remake with a great Carpenter score it does not deserve.
67. Dark Skies (2013): A competent alien-abduction riff on the haunted-house formula. Perfectly okay.
68. The Lazarus Effect (2015): A wasted cast in a resurrection thriller that fizzles out fast.
69. Sleight (2017): A street-magic-meets-sci-fi indie with more heart than budget.
70. 13 Sins (2014): A nasty little game-show-from-hell thriller that earns its escalating dares.
71. Paranormal Activity: The Marked Ones (2014): A spin-off that freshens the formula with a new cast before the franchise ran dry.

The forgettable

72. Paranormal Activity: The Ghost Dimension (2015): The exhausted “final” chapter that finally showed the demon and lost the magic.
73. Paranormal Activity: Next of Kin (2021): A streaming-era reboot attempt that nobody remembers.
74. You Should Have Left (2020): Kevin Bacon and a haunted house, wasted on a thin script from a strong director.
75. The Hunt (2020): A satire that generated more controversy than laughs, though Betty Gilpin is great.
76. Black Christmas (2019): A well-intentioned, defanged PG-13 remake that pleased almost no one.
77. The Craft: Legacy (2020): A toothless legacy sequel that forgot what made the original sing.
78. Imaginary (2024): A creepy-teddy-bear premise squandered on a muddled third act.
79. Night Swim (2024): A haunted swimming pool, played straighter than that sentence deserves.
80. Insidious: The Red Door (2023): Patrick Wilson’s directing debut closes the saga on a tired, jump-scare-by-numbers note.
81. The Exorcist: Believer (2023): A massively hyped legacy revival that landed with a wet thud.
82. Afraid (2024): An evil-smart-home thriller too timid to do anything interesting with its idea.
83. Fantasy Island (2020): A horror reboot of the TV show that is too silly to scare and too dull to enjoy.
84. Truth or Dare (2018): A famously goofy possessed-party-game movie with that unforgettable rictus grin.
85. Viral (2016): A forgettable infection thriller from the Paranormal sequel directors.
86. The Bay (2012): Barry Levinson’s found-footage eco-horror is more interesting on paper than on screen.
87. Ouija (2014): The board-game cash-grab so bad its own prequel had to rescue the brand.
88. The Boy Next Door (2015): A J.Lo erotic thriller best remembered for a “first edition” of The Iliad. Camp gold, bad movie.
89. Unfriended: Dark Web (2018): A grimmer screen-life sequel that trades the supernatural for nihilism and loses the fun.
90. Jessabelle (2014): A Southern-gothic ghost story that hits every beat you expect and none you do not.
91. Incarnate (2016): An exorcism-meets-Inception mashup that wastes a fun Aaron Eckhart.
92. Martyrs (2016): A pointless, declawed remake of a film whose whole point was that it could not be softened.

The bottom of the barrel

93. The Green Inferno (2015): Eli Roth’s cannibal throwback is gory, gross, and mostly tedious.
94. The Darkness (2016): Kevin Bacon versus a Native American curse, in a PG-13 bore.
95. Amityville: The Awakening (2017): A long-shelved franchise embarrassment dumped to die. It earned the burial.
96. Area 51 (2015): Oren Peli’s found-footage follow-up to Paranormal Activity sat on a shelf for years and should have stayed there.
97. Jem and the Holograms (2015): A beloved cartoon turned into one of the decade’s most infamous box-office disasters.
98. Tooth Fairy (2010): Dwayne Johnson in a tutu. An early, baffling outlier nobody puts on the Blumhouse highlight reel.
99. The Babymakers (2012): A limp Broken Lizard comedy with no business in this filmography.
100. Best Night Ever (2013): A found-footage bachelorette comedy from the Scary Movie guys. As bad as that sounds.
101. Plush (2013): A forgotten Catherine Hardwicke erotic thriller that vanished without a trace.
102. Stretch (2014): A frantic Joe Carnahan action-comedy Universal declined to release theatrically.
103. Not Safe for Work (2014): A single-location office thriller that came and went with no impact.
104. Mockingbird (2014): A found-footage shelf-sitter quietly dumped years after it was shot.
105. Mercy (2014): A minor Stephen King short-story adaptation that aired and evaporated.
106. Visions (2016): A pregnancy-horror thriller that went straight to streaming and stayed forgotten.
107. Curve (2015): A single-set survival thriller that exists mainly as a streaming thumbnail.
108. The Veil (2016): A cult-massacre found-footage piece notable only for its cast on paper.
109. Exeter (2015): A possession movie so troubled it was renamed and dumped more than once.
110. Bloodline (2019): A serial-killer-dad thriller that aimed for Dexter and missed.
111. Prey (2019): A survival thriller buried so deep most people only know the later, unrelated film of the same name.
112. Thriller (2019): A slasher with a great cast and almost nothing to do with them.
113. Mercy Black (2019): A Slender Man-adjacent streaming dump released with zero fanfare.
114. The Gallows Act II (2019): A sequel nobody asked for to a movie nobody loved.
115. Delirium (2018): A house-arrest haunting thriller that is the definition of streaming filler.
116. Family Blood (2018): A small Netflix vampire-addiction drama with one good idea and little execution.
117. Benji (2018): A perfectly pleasant dog reboot that has no business being scary or here.
118. Stephanie (2018): Another long-delayed Akiva Goldsman shelf-sitter, finally dumped.
119. Birth of the Dragon (2017): A Bruce Lee biopic that controversially sidelined Bruce Lee in his own story.
120. Lowriders (2017): A well-meaning family drama that never found an audience.
121. The Resurrection of Gavin Stone (2017): A faith-based comedy that is the strangest one-off in the entire catalog.

The streaming deep cuts

These are the micro-budget, straight-to-streaming entries (largely the Welcome to the Blumhouse wave) that arrived with no marketing and left no footprint. Ranked loosely by what little reception they managed.

122. The Lie (2020): A grim parents-cover-a-crime thriller hobbled by an infamous twist.
123. Black Box (2020): The best-reviewed of the Amazon wave, a memory-loss sci-fi with a decent hook.
124. Evil Eye (2020): A reincarnation thriller that is more interesting culturally than dramatically.
125. Nocturne (2020): A Faustian music-school horror that hits familiar notes.
126. Bingo Hell (2021): A gentrification-horror with a fun premise and a low ceiling.
127. Black as Night (2021): A teen-vampire-hunter romp that plays younger than it should.
128. Madres (2021): A period horror about migrant farmworkers, earnest but slight.
129. The Manor (2021): A nursing-home horror with a sharp Barbara Hershey and not much around her.
130. The Deep House (2021): A genuinely novel underwater-haunted-house gimmick that runs out of air.
131. Run Sweetheart Run (2022): A blunt date-from-hell horror that sat on a shelf for years before streaming.
132. Torn Hearts (2022): A country-music Whatever Happened to Baby Jane with committed performances.
133. There’s Something Wrong with the Children (2023): A creepy-kids horror that does the bare minimum.
134. The Passenger (2023): A small two-hander road-trip thriller that came and went on MGM+.
135. Unseen (2023): A phone-tethered survival thriller with a clever setup and modest payoff.
136. House of Spoils (2024): A restaurant ghost story that wastes a game Ariana DeBose.
137. The Woman in the Yard (2025): A moody grief-horror that is more vibe than story.
138. Unhuman (2022): A teens-versus-the-undead riff aimed squarely at nobody in particular.
139. The Visitor (2022): A paranoid doppelganger horror that barely registered on release.
140. They/Them (2022): A well-meaning conversion-camp slasher that forgot to be scary.
141. American Refugee (2021): A bunker thriller too low-key to land its politics.
142. A House on the Bayou (2021): A morality-play thriller that mistakes vagueness for depth.
143. This Is the Night (2021): A Rocky-themed coming-of-age drama, the rare DeMonaco film with no purge in sight.
144. Hurt (2021): A Halloween-night home-invasion thriller indistinguishable from a dozen others.
145. No me sigas (2025): A late-period Spanish-language entry that arrived with almost no English-language footprint.

The takeaway

Cards on the table: a top-five of Get Out, Whiplash, Us, BlacKkKlansman, and The Invisible Man is an absurd run for a studio built on fifteen-thousand-dollar haunted-house movies, and it is exactly why Blumhouse matters. The model is a slot machine. Most pulls land somewhere in the forgettable middle, a healthy chunk belong in a landfill, and every so often the reels line up and you get a film that changes the genre. No other studio fails this often or this cheaply, and no other studio’s failures are this worth it.