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The most significant jump-scare the cinema world has experienced in 2025? The comeback of horror as a leading genre at the UK box office.

As a genre, it has notably surpassed earlier periods with a 22% rise compared to last year for the UK and Irish box office: £83.7 million in 2025, versus £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 box office editor.

The big hits of the year – Weapons (£11.4 million), another hit film (£16.2 million), The Conjuring Last Rites (£14.98m) and the sequel to a classic (£15.54 million) – have all remained in the theaters and in the public consciousness.

Although much of the industry commentary highlights the unique excellence of renowned filmmakers, their successes indicate something changing between viewers 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 head of acquisition.

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

But apart from creative value, the consistent popularity of horror movies this year suggests they are giving audiences 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 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 respected writer of classic monster stories.

Amid a real-world news cycle featuring geopolitical strife, enforcement actions, extremist rises, and ecological disasters, supernatural beings and undead creatures connect in new ways with audiences.

“It’s been noted that vampire cinema thrives during periods of economic hardship,” comments an star from a successful fright film.

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

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

Scholars reference the boom of European artistic movements after the WWI and the chaotic atmosphere of the early Weimar Republic, with movies such as The Cabinet of Dr Caligari and the iconic vampire tale.

Later occurred 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,” explains a commentator.

“Thus, it mirrors widespread fears about migration.”

The specter of immigration inspired the newly launched 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.”

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

Arguably, the modern period of praised, culturally aware scary films started with a sharp parody debuted a year after a contentious political era.

It ushered in a fresh generation of horror auteurs, including a range of talented artists.

“That period was incredibly stimulating,” recalls a director whose film about a murderous foetus was one of the time's landmark films.

“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 overlooked scary films.

Earlier this year, a independent theater opened in a major city, 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 “gritty and loud” genre is, according to the venue creator, a direct reaction to the algorithmic content pumped 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 explains.

“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 disrupt conventions.

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

Besides the return of the deranged genius archetype – with two adaptations of a literary masterpiece upcoming – he predicts we will see horror films in 2026 and 2027 addressing our current anxieties: about tech supremacy in the years ahead and “vampires living in the Trump tower”.

Meanwhile, a religious-themed scare film The Carpenter’s Son – which narrates the tale of Mary and Joseph’s struggles after the nativity, and stars well-known actors as the sacred figures – is planned for launch later this year, and will definitely send a ripple through the faith-based groups in the US.</