Scared Was Apparently Not Enough, So Here Are 8 Disturbing Movies on Tubi
Get Scared & Scarred is for the movies that leave you with more than a jump scare. These disturbing picks are streaming free on Tubi, so consider your nervous system warned.
Being scared is temporary. Being disturbed has office hours tomorrow.
A good scare can make you jump, grab whoever is sitting beside you, or suddenly remember that watching with the lights on is a perfectly respectable adult decision. Then your heart rate settles. You laugh about it. Movie night continues.
Getting scarred is a different arrangement. That's the image you wish you could delete. The implication your brain keeps turning over. The ending that leaves the room suspiciously quiet once the credits start. You aren't necessarily hiding underneath the blanket anymore. You're just staring at the screen thinking, “Well. I didn't need that.”
Tubi's Get Scared & Scarred collection understands the assignment. These aren't all scary in the same way, and a few don't even fit neatly inside horror. What connects them is the residue: eight movies capable of finding completely different routes into the part of your brain you'd rather they didn't know existed.
Watch responsibly. Your thoughts afterward are between you and your ceiling.
The Coffee Table
It starts with an ugly coffee table. Please enjoy that period of innocence.
A new father becomes unusually determined to buy an expensive glass table despite his wife's very reasonable objections in The Coffee Table. The disagreement feels petty, domestic, almost mundane; the kind of argument couples have about furniture every day. Then one moment changes what kind of movie you're watching.
Saying much more would sabotage exactly why this one works. Director Caye Casas takes an unbearable situation and refuses to offer the audience an easy emotional exit, letting dread build around what characters know, what they don't, and what eventually has to be confronted. The dark comedy only makes the experience stranger because laughing feels almost inappropriate.
This title is available on Tubi until further notice.
Under the Skin
Scarlett Johansson drives around Scotland picking up men. The less you know about her intentions, the better.
Under the Skin focuses in on an unnamed woman moving through ordinary human spaces while observing, approaching, and luring strangers toward encounters that become increasingly difficult to explain. Scarlett Johansson keeps her performance deliberately distant, as though she's learned the mechanics of behaving like a person without completely understanding what being one actually means.
Ordinary things begin looking unfamiliar through her perspective. Bodies. Attraction. Conversation. Loneliness. The movie creates discomfort by removing the assumptions that usually make those things feel normal, leaving humanity looking oddly alien from the outside.
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The Poughkeepsie Tapes
Found footage usually asks you to pretend somebody discovered a camera. The Poughkeepsie Tapes asks you to pretend investigators discovered an archive.
The faux-documentary reconstructs the crimes of a serial killer through interviews, law-enforcement material, and videotapes supposedly recorded by the murderer himself. Instead of giving the story the polished distance of a conventional thriller, the format makes everything feel like evidence you perhaps shouldn't have access to.
What lingers isn't simply the violence. It's the presentation. The movie borrows the visual language of true-crime documentaries closely enough to make fiction feel unpleasantly plausible, turning the act of watching into part of the discomfort. Our found-footage horror guide has more movies willing to make the camera part of the nightmare once you're ready to voluntarily do this to yourself again.
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Lake Mungo
Grief can make you look for somebody everywhere. Sometimes you find something that should have been left alone.
After 16-year-old Alice Palmer dies, her family begins noticing strange details in photographs and recordings around their home in Lake Mungo. The Australian film uses interviews, home videos, photographs, and documentary-style footage to slowly reconstruct a daughter her family realizes they may not have understood as well as they thought.
Grief, absence, secrets, and the possibility that Alice knew something terrible before anyone else create a much quieter kind of dread. You're encouraged to keep looking closely at images for evidence, which becomes a significantly less appealing activity once the movie teaches you what might be waiting there. Eventually, you'll see it. Good luck unseeing it.
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REC
The building has been sealed. Unfortunately, you're on the inside.
A television reporter and her cameraman follow firefighters responding to an emergency call inside a Barcelona apartment building in REC. What looks like a routine late-night assignment becomes much more alarming once authorities quarantine the building and nobody inside receives a particularly comforting explanation.
Hallways narrow. People start losing control. Information arrives too slowly. Every floor feels farther from an exit than the last, and the found-footage perspective keeps you trapped alongside everybody desperately trying to understand what is happening. By the time the movie reaches its final stretch, darkness itself has become a problem. Night-vision mode will not make you feel better.
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Funny Games
Two polite young men arrive at a family's vacation home. Politeness is about to become deeply threatening.
Michael Haneke's Funny Games traps a family inside an increasingly cruel series of games after two strangers enter their home. The violence is disturbing, but Haneke has another target in mind: the person sitting comfortably on the other side of the screen expecting a thriller to entertain them.
The movie keeps disrupting the usual agreement between audience and story. Expectations are denied. Control shifts in ways that feel almost antagonistic. Eventually, watching becomes uncomfortable for reasons that go beyond what is happening to the characters. Funny Games knows you're there. That's part of the problem.
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The Descent
Maybe caves were already on your personal “absolutely not” list. Congratulations on your foresight.
Six women descend into an unfamiliar cave system in The Descent, where tight passages, unstable rock, darkness, and the simple knowledge of how much earth is sitting above them provide enough anxiety before anything else begins moving underground.
Neil Marshall makes squeezing through rock look so physically unpleasant that the setting itself can follow you out of the movie. You don't need to believe monsters are waiting underground to discover a newfound appreciation for wide-open spaces. We've already gone much deeper underground in our The Descent spotlight, for anyone whose newfound cave anxiety needs additional context. Cave tour? We have plans. Forever.
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Requiem for a Dream
Turns out a movie doesn't need ghosts, killers, or anything hiding in the dark to make you deeply uncomfortable.
Four people chase different versions of a better life in Requiem for a Dream, only for addiction to gradually reshape what they're willing to sacrifice to reach it. Ellen Burstyn, Jared Leto, Jennifer Connelly, and Marlon Wayans occupy different corners of the same downward spiral, while director Darren Aronofsky keeps tightening the pressure as their plans become harder to recognize.
Putting this one inside Get Scared & Scarred makes a pretty convincing argument that disturbing and scary aren't always the same thing. There's nothing supernatural to blame and no creature waiting around the corner. You're watching ordinary wants become increasingly destructive one decision at a time, which makes the movie difficult to shake for a much more recognizable reason.
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