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I understand the marketing behind it, and the assumption that if you only watch a couple of new horror movies every Halloween before retreating to your tried-and-true cozy slasher classics of yesteryear, then it makes sense. When *The Conjuring* came out in 2013, I remember my casual horror friends being blown away by it, and rightfully so. I thoroughly enjoyed it. It’s a great movie. But I watch horror movies all the time, while they burn through [*Halloween*](https://www.giantfreakinrobot.com/ent/slasher-trope-makes-no-sense.html), *Friday the 13th*, and *A Nightmare on Elm Street* every year like clockwork and not much else. That is all to say I wasn’t buying it when I learned that 2017’s *Veronica* is considered one of the scariest movies on [Netflix](https://www.giantfreakinrobot.com/topic/netflix "Netflix"). It’s essentially a Spanish-language version of your classic Ouija board haunting plot, so my expectation was more of the same but with subtitles (don’t settle for the English dubs). To my delight, this movie actually rules and is scary as hell.  Now don’t get this twisted. If you’ve seen a number of movies like this, it’s par for the course. *Veronica*, and its prequel, 2023’s *Sister Death*, are pretty standard in their storytelling, but execution is everything here. Sound design, cinematography, and a bunch of competent yet unknown actors, unknown to me at least, make for a solid viewing experience. Even better, the world being built here is solid franchise territory. Though I’d be lying if I said writer-director Paco Plaza should keep going with the premise. He struck the perfect balance between worldbuilding and only showing the viewer just enough without shattering the illusion. If he keeps going with more sequels and prequels, I fear the magic will evaporate and we’ll get lesser films because the lore will push past the point of believability, similar to the later Conjuring movies that saw a noticeable drop in quality. ### **Veronica Is Your Classic Ouija Board Plot**  Set in 1991, *Veronica* begins at the end as a detective surveys the crime scene that is our titular protagonist’s house. Text on the screen states that the events in this film are based on his police reports, and everything rewinds to a few days earlier, when the seeds for the present disaster are planted. We’re introduced to 15-year-old Veronica, her younger twin sisters Lucia (Bruna Gonzalez) and Irene (Claudia Placer), and her youngest brother Antonito (Ivan Chavero). Veronica’s mother works late-night shifts as a waitress and is mostly absent during the day because she’s sleeping, which relegates household tasks and secondary parental duties to her eldest daughter. Their father is deceased and will eventually become the primary source of conflict. This family dynamic is important in *Veronica* because she’s a very responsible teenager. She rounds up the kids every day, handles meals, and gets them ready for school. By all measures, she’s a good kid. But she’s also a teenager, and teenagers do stupid things because their brains aren’t fully cooked yet. The endless list of responsibilities, compounded by how much she misses her father, pushes her toward a Ouija board that she plans to use with her friends Rosa (Angela Fabian) and Diana (Carla Campra) during school while everyone else in their class watches the solar eclipse on the rooftop. After successfully reaching the other side and contacting her father, Veronica convulses, screams bloody murder, and wakes up in the nurse’s office.  Terrified about what happened, Veronica keeps the incident a secret and continues to run the household, but things start to slip. She sees shadowy figures in the night and falls into trances. When these episodes occur, Veronica loses track of time and finds herself hurting Antonito when she snaps out of it. While in the trance, for example, Veronica believes she is fighting a demon off her little brother. When reality returns, it looks like she’s trying to strangle him while he sleeps.  **VERONICA SCORE** *Veronica* escalates in this fashion, as you would expect, and some of her visions are genuinely disturbing. On their own, the beats are fairly standard, but Pablo Rosso’s cinematography, Marti Roca’s editing, and Chucky Namanera’s score push the film into elevated horror territory before the term was completely run into the ground. ### **Sister Death Builds The Lore Out Perfectly**  Though the blind nun nicknamed Sister Death (Consuelo Trujillo) has only a minor presence in *Veronica*, her backstory is fully explored in the film’s prequel. In *Veronica*, Sister Death, who blinded herself when she was younger so she would stop seeing the demons haunting her, acts as a spiritual guide who tries to help Veronica fight off the demonic forces at play. In *Sister Death*, set in 1939, we learn this origin story and see how everything falls into place. Related: [Shocking, Unrated Horror Flick No One Saw Will Destroy Your Suburban Dreams](https://www.giantfreakinrobot.com/ent/horror/morris-county-review.html) Here, the solar eclipse mythology is expanded as a young Sister Death, actually named Narcisa (Aria Bedmar), encounters evil spirits that seem to follow her wherever she goes at the all-girls school where she teaches. There’s an unfinished game of hangman drawn on her bedroom wall and murmurings of a sadistic spiritual presence known as Socorro (Almudena Amor), who has it out not only for Narcisa, but also Sister Julia (Maru Valdivielso) and Mother Superior (Luisa Merelas).  Back to back, *Veronica* and *Sister Death* are beyond solid entries and genuinely terrifying at times. The former leans into the possession plot better than I could have imagined, while the latter provides the backstory with enough detail to sell the premise, but with enough mystery to keep you enthralled. My fear is that if we get a third or fourth film set in this universe, the whole thing could fall apart. Nothing is overexplained here, and that restraint works to the mythos’ advantage, generating a healthy number of scares for casual and die-hard horror fans alike.  **SISTER DEATH SCORE** Though I don’t think [*Veronica*](https://www.netflix.com/title/80109295) and [*Sister Death*](https://www.netflix.com/title/81478662) are the scariest horror movies streaming on Netflix, I’d put them on the same pedestal as *A Classic Horror Story* and *The Black Phone* for sure. Now all you have to do is watch them and find out for yourself. Related Topics: [Reviews](https://www.giantfreakinrobot.com/topic/reviews) [Horror](https://www.giantfreakinrobot.com/category/ent/horror) [A Nightmare on Elm Street](https://www.giantfreakinrobot.com/topic/a-nightmare-on-elm-street) *** ## Trending [ The Raunchy, Extremely R-Rated Comedy That Pushes Every Limit 2 days ago](https://www.giantfreakinrobot.com/ent/comedy/grandmas-boy-2006-review.html) [ The Star Trek Cameo So Great It Almost Created A New Series 1 week ago](https://www.giantfreakinrobot.com/ent/scifi/star-trek-voyager-cameo-spinoff.html) [ Emma Stone’s Perfect, R-Rated Comedy On Netflix Reinvents The Genre 23 hours ago](https://www.giantfreakinrobot.com/ent/horror/zombieland-movie-review-2009.html) ## Breaking Now [ Netflix’s Scariest R-Rated Movie Lives Up To Its Hype 1 minute ago](https://www.giantfreakinrobot.com/ent/horror/veronica-2017-review.html) [ Quentin Tarantino Is Working On Everything But What You Want 5 minutes ago](https://www.giantfreakinrobot.com/ent/quentin-tarantino-last-movie.html) [ Shocking, Unrated Horror Flick No One Saw Will Destroy Your Suburban Dreams 10 minutes ago](https://www.giantfreakinrobot.com/ent/horror/morris-county-review.html) [](https://www.giantfreakinrobot.com/) [Independently Operated by Walk Big](https://www.walkbig.com/) Copyright © 2026 giantfreakinrobot.com - [Home](https://www.giantfreakinrobot.com/ "Home") - [About Us](https://www.giantfreakinrobot.com/about-us "About Us") - [Independent Ownership](https://www.giantfreakinrobot.com/ownership "Independent Ownership") - [Fact Checking And Credibility](https://www.giantfreakinrobot.com/credibility "Fact Checking And Credibility") - [Original Reporting](https://www.giantfreakinrobot.com/original-reporting "Original Reporting") - [Corrections](https://www.giantfreakinrobot.com/topic/corrections "Corrections") - [Contact Us](https://www.giantfreakinrobot.com/contact "Contact Us") 

By [Robert Scucci](https://www.giantfreakinrobot.com/author/robertscucci "Robert Scucci") \| Published 1 minute ago  Whenever a horror flick is deemed “the scariest movie of the year,” I approach it with guarded enthusiasm. I understand the marketing behind it, and the assumption that if you only watch a couple of new horror movies every Halloween before retreating to your tried-and-true cozy slasher classics of yesteryear, then it makes sense. When *The Conjuring* came out in 2013, I remember my casual horror friends being blown away by it, and rightfully so. I thoroughly enjoyed it. It’s a great movie. But I watch horror movies all the time, while they burn through [*Halloween*](https://www.giantfreakinrobot.com/ent/slasher-trope-makes-no-sense.html), *Friday the 13th*, and *A Nightmare on Elm Street* every year like clockwork and not much else. That is all to say I wasn’t buying it when I learned that 2017’s *Veronica* is considered one of the scariest movies on [Netflix](https://www.giantfreakinrobot.com/topic/netflix "Netflix"). It’s essentially a Spanish-language version of your classic Ouija board haunting plot, so my expectation was more of the same but with subtitles (don’t settle for the English dubs). To my delight, this movie actually rules and is scary as hell.  Now don’t get this twisted. If you’ve seen a number of movies like this, it’s par for the course. *Veronica*, and its prequel, 2023’s *Sister Death*, are pretty standard in their storytelling, but execution is everything here. Sound design, cinematography, and a bunch of competent yet unknown actors, unknown to me at least, make for a solid viewing experience. Even better, the world being built here is solid franchise territory. Though I’d be lying if I said writer-director Paco Plaza should keep going with the premise. He struck the perfect balance between worldbuilding and only showing the viewer just enough without shattering the illusion. If he keeps going with more sequels and prequels, I fear the magic will evaporate and we’ll get lesser films because the lore will push past the point of believability, similar to the later Conjuring movies that saw a noticeable drop in quality. ### **Veronica Is Your Classic Ouija Board Plot**  Set in 1991, *Veronica* begins at the end as a detective surveys the crime scene that is our titular protagonist’s house. Text on the screen states that the events in this film are based on his police reports, and everything rewinds to a few days earlier, when the seeds for the present disaster are planted. We’re introduced to 15-year-old Veronica, her younger twin sisters Lucia (Bruna Gonzalez) and Irene (Claudia Placer), and her youngest brother Antonito (Ivan Chavero). Veronica’s mother works late-night shifts as a waitress and is mostly absent during the day because she’s sleeping, which relegates household tasks and secondary parental duties to her eldest daughter. Their father is deceased and will eventually become the primary source of conflict. This family dynamic is important in *Veronica* because she’s a very responsible teenager. She rounds up the kids every day, handles meals, and gets them ready for school. By all measures, she’s a good kid. But she’s also a teenager, and teenagers do stupid things because their brains aren’t fully cooked yet. The endless list of responsibilities, compounded by how much she misses her father, pushes her toward a Ouija board that she plans to use with her friends Rosa (Angela Fabian) and Diana (Carla Campra) during school while everyone else in their class watches the solar eclipse on the rooftop. After successfully reaching the other side and contacting her father, Veronica convulses, screams bloody murder, and wakes up in the nurse’s office.  Terrified about what happened, Veronica keeps the incident a secret and continues to run the household, but things start to slip. She sees shadowy figures in the night and falls into trances. When these episodes occur, Veronica loses track of time and finds herself hurting Antonito when she snaps out of it. While in the trance, for example, Veronica believes she is fighting a demon off her little brother. When reality returns, it looks like she’s trying to strangle him while he sleeps.  **VERONICA SCORE** *Veronica* escalates in this fashion, as you would expect, and some of her visions are genuinely disturbing. On their own, the beats are fairly standard, but Pablo Rosso’s cinematography, Marti Roca’s editing, and Chucky Namanera’s score push the film into elevated horror territory before the term was completely run into the ground. ### **Sister Death Builds The Lore Out Perfectly**  Though the blind nun nicknamed Sister Death (Consuelo Trujillo) has only a minor presence in *Veronica*, her backstory is fully explored in the film’s prequel. In *Veronica*, Sister Death, who blinded herself when she was younger so she would stop seeing the demons haunting her, acts as a spiritual guide who tries to help Veronica fight off the demonic forces at play. In *Sister Death*, set in 1939, we learn this origin story and see how everything falls into place. Related: Here, the solar eclipse mythology is expanded as a young Sister Death, actually named Narcisa (Aria Bedmar), encounters evil spirits that seem to follow her wherever she goes at the all-girls school where she teaches. There’s an unfinished game of hangman drawn on her bedroom wall and murmurings of a sadistic spiritual presence known as Socorro (Almudena Amor), who has it out not only for Narcisa, but also Sister Julia (Maru Valdivielso) and Mother Superior (Luisa Merelas).  Back to back, *Veronica* and *Sister Death* are beyond solid entries and genuinely terrifying at times. The former leans into the possession plot better than I could have imagined, while the latter provides the backstory with enough detail to sell the premise, but with enough mystery to keep you enthralled. My fear is that if we get a third or fourth film set in this universe, the whole thing could fall apart. Nothing is overexplained here, and that restraint works to the mythos’ advantage, generating a healthy number of scares for casual and die-hard horror fans alike.  **SISTER DEATH SCORE** Though I don’t think [*Veronica*](https://www.netflix.com/title/80109295) and [*Sister Death*](https://www.netflix.com/title/81478662) are the scariest horror movies streaming on Netflix, I’d put them on the same pedestal as *A Classic Horror Story* and *The Black Phone* for sure. Now all you have to do is watch them and find out for yourself. ***