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The most significant surprise the cinema world has experienced in 2025? The resurgence of horror as a main player at the UK box office.

As a style, it has notably outperformed earlier periods with a 22% rise compared to last year for the British and Irish cinemas: over £83 million this year, versus £68 million the previous year.

“In the past year, not a single horror movie hit £10 million in UK or Irish theaters. Now, five have achieved that,” comments a film industry analyst.

The major successes of the year – a recent horror title (£11.4 million), another hit film (£16.2 million), The Conjuring Last Rites (£14.98m) and 28 Years Later (£15.54m) – have all remained in the theaters and in the public consciousness.

Even though much of the industry commentary highlights the unique excellence of renowned filmmakers, their triumphs indicate something changing between viewers and the genre.

“I’ve heard people say, ‘Even if you don’t like horror this is a film you need to see,’” says a content buying lead.

“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 suggests they are giving audiences something that’s greatly desired: catharsis.

“These days, movies echo the prevalent emotions of rage, anxiety, and polarization,” notes a horror podcast host.

“The genre masterfully exploits common anxieties, magnifying them so that everyday stresses fade beside the cinematic horror,” explains a noted author of classic monster stories.

In the context of a current events featuring war, border tensions, far-right movements, and environmental crises, supernatural beings and undead creatures resonate a bit differently with viewers.

“I read somewhere that the success of vampire movies is linked to economically depressed times,” says an performer from a popular scary movie.

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

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

Analysts reference the surge of German expressionism after the the Great War and the turbulent times of the 1920s Europe, with films such as The Cabinet of Dr Caligari and Nosferatu: A Symphony of Horror.

This was followed by the Great Depression era 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.

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

The phantom of border issues shaped the just-premiered supernatural tale The Severed Sun.

The filmmaker explains: “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.”

Perhaps, the present time of praised, culturally aware scary films began with a brilliant satire released a year after a divisive leadership period.

It ushered in a recent surge of visionary directors, including various prominent figures.

“That period was incredibly stimulating,” says a director whose project about a deadly unborn child 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.”

This creator, now penning a fresh horror script, notes: “Over 10 years, audiences’ minds have been opening up to much more of that.”

At the same time, there has been a reappraisal of the overlooked scary films.

Earlier this year, a independent theater opened in a major city, showing underground films such as a quirky horror title, a classic adaptation and the late-80s version of the expressionist icon.

The re-appreciation of this “gritty and loud” genre is, according to the venue creator, a straightforward answer to the formulaic productions churned out at the theaters.

“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.”

Fright flicks continue to disrupt conventions.

“These movies uniquely blend vintage vibes with contemporary relevance,” says an expert.

In addition to the re-emergence of the insane researcher motif – with multiple versions of a well-known story imminent – he predicts we will see fright features in the near future reacting to our current anxieties: about artificial intelligence control in the years ahead and “vampires living in the Trump tower”.

Meanwhile, a religious-themed scare film The Carpenter’s Son – which tells the story of Mary and Joseph’s struggles after Jesus’s birth, and stars famous performers as the holy parents – is set for release soon, and will definitely send a ripple through the Christian right in the America.</