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The biggest shock the film industry has experienced in 2025? The resurgence of horror as a dominant force at the British cinemas.

As a category, it has impressively outperformed past times with a 22% year-on-year increase for the British and Irish cinemas: £83,766,086 in 2025, against £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,” comments a box office editor.

The big hits of the year – Weapons (£11.4 million), Sinners (£16.2m), the latest Conjuring installment (£14.98m) and 28 Years Later (£15.54 million) – have all hung about in the multiplexes and in the audience's minds.

While much of the industry commentary centers on the standout quality of certain directors, their successes suggest something shifting between audiences and the style.

“I’ve heard people say, ‘Even if you don’t like horror this is a film you need to see,’” states a film distribution executive.

“Films like these play with genre and structure to create something completely different, and that speaks to an audience in a different way.”

But apart from creative value, the consistent popularity of horror movies this year indicates they are giving moviegoers something that’s highly necessary: therapeutic relief.

“These days, movies echo the prevalent emotions of rage, anxiety, and polarization,” notes 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,” explains a prominent scholar of vampire and monster cinema.

In the context of 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 audiences.

“It’s been noted that vampire cinema thrives during periods of economic hardship,” says an actress from a recent horror hit.

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

From film's inception, societal turmoil has shaped horror.

Experts point to the rise of German expressionism after the the Great War and the turbulent times of the early Weimar Republic, with movies such as The Cabinet of Dr Caligari and the iconic vampire tale.

This was followed by the economic crisis of the 30s and iconic horror characters.

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

“Therefore, it embodies concerns related to foreign influx.”

The boogeyman of immigration inspired the recently released rural fright The Severed Sun.

The creator explains: “I aimed to delve into populist rhetoric. Specifically, calls to restore a mythical past that favored a privileged few.”

“Additionally, the notion that acquaintances might unexpectedly voice extreme views, leaving others shocked.”

Perhaps, the present time of celebrated, politically engaged fright cinema commenced with a sharp parody debuted a year after a polarizing administration.

It sparked a new wave of innovative filmmakers, including several notable names.

“It was a hugely exciting time,” comments a director whose film about a violent prenatal entity was one of the period's key works.

“In my view, it marked the start of a phase where filmmakers embraced wildly creative horror with artistic ambitions.”

The same filmmaker, who is writing a new horror original, adds: “During the past decade, viewers have become more receptive to such innovative approaches.”

At the same time, there has been a reappraisal of the underrated horror works.

Recently, a independent theater opened in London, showing underground films such as The Greasy Strangler, The Fall of the House of Usher and the 1989 remake of the expressionist icon.

The fresh acclaim of this “rough and rowdy” genre is, according to the cinema founder, a clear response to the calculated releases churned out at the cinemas.

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

“On the other hand, [these indie works] feel imperfect. They seem to burst forth from deep creativity, free from commercial constraints.”

Scary movies continue to upset the establishment.

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

In addition to the re-emergence of the insane researcher motif – with several renditions of a literary masterpiece on the horizon – he anticipates we will see horror films in the near future addressing our current anxieties: about AI’s dominance in the near future and “monstrous metaphors in power structures”.

At the same time, “Jesus horror” a forthcoming title – which tells the story of holy family challenges after the nativity, and features celebrated stars as the sacred figures – is set for release soon, and will definitely cause a stir through the faith-based groups in the US.</