🔗 Share this article

The biggest jump-scare the cinema world has encountered in 2025? The return of horror as a dominant force at the British cinemas.

As a genre, it has impressively exceeded earlier periods with a 22% rise compared to last year for the UK and Ireland film earnings: over £83 million this year, versus £68.6 million last year.

“Previously, zero horror films made £10 million in the UK or Ireland. Currently, five have surpassed that mark,” notes a cinema revenue expert.

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

Even though much of the industry commentary centers on the singular brilliance of renowned filmmakers, their achievements point to something changing between audiences and the style.

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

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

But outside of aesthetic quality, the consistent popularity of frightening features this year suggests they are giving moviegoers something that’s greatly desired: catharsis.

“Right now, there’s a lot of anger, fear and division that’s being reflected in cinema,” notes a horror podcast host.

“Scary movies excel at tapping into viewers' fears, amplifying them, allowing you to set aside daily worries and concentrate on the on-screen terror,” says a noted author of horror film history.

Against a current events featuring war, border tensions, far-right movements, and environmental crises, supernatural beings and undead creatures connect in new ways with viewers.

“I read somewhere that the success of vampire movies is linked to economically depressed times,” comments an actress from a successful fright film.

“The concept reflects how economic systems can drain vitality from individuals.”

Since the early days of cinema, social unrest has influenced the genre.

Scholars reference the surge of European artistic movements after the first world war and the chaotic atmosphere of the post-war Germany, with films such as early expressionist works and Nosferatu: A Symphony of Horror.

Subsequently came the economic crisis of the 30s and Universal Studios’ Frankenstein and The Wolfman.

“Consider the Dracula narrative: an outsider from the east brings a corrupting influence that permeates society and challenges its heroes,” says a academic.

“Thus, it mirrors widespread fears about migration.”

The boogeyman of border issues shaped the just-premiered rural fright The Severed Sun.

The creator clarifies: “I wanted to explore ideas around the rise of populism. Firstly, slogans like ‘Let’s Make Britain Great Again’, that harken back to some fantasy time when things were ‘better’, but only if you were a rich white man.”

“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?’”

Arguably, the modern period of acclaimed, socially switched-on horror began with a clever critique released a year after a polarizing administration.

It introduced a recent surge of horror auteurs, including various prominent figures.

“That period was incredibly stimulating,” recalls a director whose movie about a deadly unborn child 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 genre’s less celebrated output.

Recently, 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 fresh acclaim of this “rough and rowdy” genre is, according to the cinema founder, a direct reaction to the calculated releases produced at the theaters.

“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 expert.

Besides the revival of the mad scientist trope – with two adaptations of a well-known story upcoming – he anticipates we will see horror films in the coming years addressing our modern concerns: about AI’s dominance in the near future and “supernatural elements in political spheres”.

In the interim, a biblical fright story The Carpenter’s Son – which depicts the events of biblical parent hardships after the messiah's arrival, and stars celebrated stars as the holy parents – is planned for launch later this year, and will undoubtedly create waves through the faith-based groups in the United States.</