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The largest shock 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 exceeded past times with a 22% year-on-year increase for the British and Irish cinemas: over £83 million this year, 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 cinema revenue expert.

The top performers of the year – a recent horror title (£11.4 million), another hit film (£16.2m), the latest Conjuring installment (£14.98m) and 28 Years Later (£15.54m) – have all remained in the multiplexes and in the popular awareness.

While much of the expert analysis focuses on the standout quality of renowned filmmakers, their achievements indicate 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,’” says a film distribution executive.

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

But apart from artistic merit, the ongoing appeal of frightening features this year suggests they are giving cinemagoers something that’s much needed: catharsis.

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

“The genre masterfully exploits common anxieties, magnifying them so that everyday stresses fade beside the cinematic horror,” remarks a respected writer of horror film history.

Against a current events featuring conflict, immigration issues, political shifts, and climate concerns, ghosts, monsters, and mythical entities resonate a bit differently with audiences.

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

“This symbolizes the way modern economies can exhaust human spirit.”

Historically, public discord has always impacted scary movies.

Experts highlight the surge of European artistic movements after the first world war and the chaotic atmosphere of the 1920s Europe, with features such as classic silent horror and a pioneering fright film.

This was followed by the economic crisis of the 30s and classic monster movies.

“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,” says a commentator.

“So it reflects a lot of anxieties around immigration.”

The boogeyman of migration influenced the just-premiered folk horror The Severed Sun.

The creator clarifies: “My goal was to examine populist trends. For instance, nostalgic phrases promising a return to a 'better' era that excluded many.”

“Also, the concept of familiar individuals revealing surprising prejudices in casual settings.”

Arguably, the current era of celebrated, politically engaged fright cinema began with a sharp parody released a year after a polarizing administration.

It introduced a fresh generation of visionary directors, including various prominent figures.

“It was a hugely exciting time,” says a filmmaker whose film about a deadly unborn child was one of the era’s tentpole movies.

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

The director, currently developing another scary story, continues: “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.

Earlier this year, a new cinema opened in a major city, showing cult classics such as The Greasy Strangler, a classic adaptation and the 1989 remake of the expressionist icon.

The re-appreciation of this “raw and chaotic” genre is, according to the cinema founder, a straightforward answer to the calculated releases 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.

“Conversely, [such movies] appear raw. As if they emerged straight from the artist's mind, untouched by studio control.”

Scary movies continue to upset the establishment.

“They have this strange ability to seem old fashioned and up to the minute, both at the same time,” observes an authority.

Besides the revival of the insane researcher motif – with multiple versions of a well-known story on the horizon – he predicts we will see scary movies in the coming years responding to our current anxieties: about artificial intelligence control in the near future and “vampires living in the Trump tower”.

At the same time, a religious-themed scare film The Carpenter’s Son – which depicts the events of biblical parent hardships after the nativity, and includes well-known actors as the divine couple – is set for release later this year, and will undoubtedly send a ripple through the faith-based groups in the America.</