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The largest surprise the cinema world has encountered in 2025? The return of horror as a leading genre at the British cinemas.

As a genre, it has remarkably surpassed previous years with a 22% year-on-year increase for the UK and Ireland film earnings: over £83 million this year, versus £68,612,395 in 2024.

“In the past year, not a single horror movie hit £10 million in UK or Irish theaters. Now, five have achieved that,” notes a box office editor.

The big hits of the year – a recent horror title (£11.4 million), another hit film (£16.2m), The Conjuring Last Rites (£14.98m) and the sequel to a classic (£15.54 million) – have all remained in the multiplexes and in the popular awareness.

Even though much of the expert analysis highlights the unique excellence of renowned filmmakers, their achievements point to something evolving between viewers and the style.

“Many have expressed, ‘You should watch this even if horror isn’t your thing,’” explains a film distribution executive.

“Such movies experiment with style and format to produce entirely fresh content, connecting with viewers on a new level.”

But beyond artistic merit, the ongoing appeal of frightening features this year suggests they are giving moviegoers something that’s highly necessary: catharsis.

“Currently, cinema mirrors the widespread anger, fear, and societal splits,” says a genre expert.

“Horror films are great at playing into people’s anxieties, while at the same time exaggerating them. So you forget about your day-to-day anxieties and focus on the monster on the screen,” remarks a noted author of vampire and monster cinema.

Against a real-world news cycle featuring war, border tensions, far-right movements, and environmental crises, witches, zombies and vengeful spirits strike a unique chord with viewers.

“Some research suggests vampire film popularity correlates with financial downturns,” says an performer from a recent horror hit.

“It’s the idea that capitalism sucks the life out of people.”

Historically, public discord has always impacted scary movies.

Analysts point to the boom of European artistic movements after the WWI and the chaotic atmosphere of the post-war Germany, with features such as The Cabinet of Dr Caligari and the iconic vampire tale.

Subsequently came the Great Depression era and Universal Studios’ Frankenstein and The Wolfman.

“The classic example is Dracula: you get this invasion of Britain by someone from eastern Europe who then causes this infection that gets spread in all sorts of ways and threatens the Anglo-Saxon heroes,” explains a commentator.

“Thus, it mirrors widespread fears about migration.”

The specter of migration inspired the just-premiered supernatural tale a recent film title.

Its writer-director clarifies: “I aimed to delve into populist rhetoric. Specifically, calls to restore a mythical past that favored a privileged few.”

“Secondly, the idea that you could be with someone you know and then suddenly they blurt out something round the dinner table or in a Facebook post and you’re like, ‘Where did that come from?’”

Maybe, the modern period of praised, culturally aware scary films started with a sharp parody debuted a year after a polarizing administration.

It introduced a recent surge of visionary directors, including a range of talented artists.

“That period was incredibly stimulating,” says a filmmaker whose movie about a murderous foetus was one of the era’s tentpole movies.

“I believe it initiated a trend toward eccentric, high-concept horror that aimed for artistic recognition.”

The director, currently developing another scary story, continues: “In the last ten years, public taste has evolved to welcome bolder horror concepts.”

Simultaneously, there has been a revival of the underrated horror works.

Recently, a nicke l venue opened in the capital, showing underground films such as The Greasy Strangler, a classic adaptation and the modern reinterpretation of Dr Caligari.

The renewed interest of this “raw and chaotic” genre is, according to the cinema founder, a clear response to the calculated releases churned out at the cinemas.

“This responds to the sterile output from major studios. Today's cinema is safer and more repetitive. Many popular movies feel identical,” he says.

“In contrast [these alternative films] are a bit broken. It’s like they’ve erupted out of someone’s subconscious and been planted out there without corporate interference.”

Scary movies continue to challenge the norm.

“Horror possesses a dual nature, feeling both classic and current simultaneously,” notes an authority.

In addition to the re-emergence of the mad scientist trope – with two adaptations of a well-known story upcoming – he anticipates we will see horror films in 2026 and 2027 responding to our current anxieties: about artificial intelligence control in the years ahead and “supernatural elements in political spheres”.

At the same time, “Jesus horror” The Carpenter’s Son – which depicts the events of holy family challenges after the messiah's arrival, and stars celebrated stars as the divine couple – is planned for launch soon, and will certainly send a ripple through the faith-based groups in the United States.</