🔗 Share this article

The largest surprise the movie business has experienced in 2025? The resurgence of horror as a dominant force at the British cinemas.

As a genre, it has notably surpassed earlier periods with a 22% year-on-year increase for the UK and Irish box office: £83.7 million in 2025, against £68 million the previous year.

“Last year, no horror film reached £10m at the UK or Irish box office. This year, five films have,” notes a film industry analyst.

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 28 Years Later (£15.54 million) – have all stayed in the multiplexes and in the popular awareness.

Although much of the expert analysis highlights the standout quality of renowned filmmakers, their achievements point to something changing between viewers and the style.

“Many have expressed, ‘You should watch this even if horror isn’t your thing,’” explains a head of acquisition.

“These productions twist traditional elements to craft unique experiences, resonating deeply with modern audiences.”

But apart from creative value, the ongoing appeal of spooky films this year indicates they are giving moviegoers something that’s much needed: therapeutic relief.

“Currently, cinema mirrors the widespread anger, fear, and societal splits,” says a horror podcast host.

“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 respected writer of horror film history.

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

“Some research suggests vampire film popularity correlates with financial downturns,” comments an star from a popular scary movie.

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

Historically, public discord has always impacted scary movies.

Scholars highlight the rise of early cinematic styles after the WWI and the turbulent times of the post-war Germany, with films such as The Cabinet of Dr Caligari and a pioneering fright film.

This was followed by the 1930s depression and Universal Studios’ Frankenstein and The Wolfman.

“Take Dracula: it depicts an Eastern European figure invading Britain, spreading a metaphorical infection that endangers local protagonists,” explains a commentator.

“Thus, it mirrors widespread fears about migration.”

The phantom of migration influenced the recently released folk horror a recent film title.

The filmmaker elaborates: “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 current era of acclaimed, socially switched-on horror began with a brilliant satire launched a year after a contentious political era.

It sparked a fresh generation of innovative filmmakers, including several notable names.

“That period was incredibly stimulating,” says a filmmaker whose project about a murderous foetus was one of the period's key works.

“I think it was the beginning of an era when people were opening up to doing a really bonkers horror film which had arthouse aspirations.”

The same filmmaker, who is writing a new horror original, adds: “In the last ten years, public taste has evolved to welcome bolder horror concepts.”

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

In recent months, a new cinema opened in London, showing cult classics such as a quirky horror title, a classic adaptation and the 1989 remake of the expressionist icon.

The fresh acclaim of this “raw and chaotic” genre is, according to the cinema founder, a direct reaction to the formulaic productions produced at the box office.

“It counters the polished content from big producers. The industry has become blander and more foreseeable. Numerous blockbusters share the same traits,” 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.”

Horror films continue to challenge the norm.

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

In addition to the return of the mad scientist trope – with several renditions of a well-known story imminent – he anticipates we will see scary movies in the coming years addressing our present fears: about artificial intelligence control in the near future and “vampires living in the Trump tower”.

At the same time, “Jesus horror” a forthcoming title – which tells the story of Mary and Joseph’s struggles after the nativity, and includes famous performers as the divine couple – is scheduled to debut soon, and will certainly create waves through the faith-based groups in the America.</