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

As a genre, it has notably exceeded previous years with a 22% rise compared to last year for the British and Irish cinemas: £83.7 million in 2025, versus £68.6 million last year.

“Last year, no horror film reached £10m at the UK or Irish box office. This year, five films have,” says a film industry analyst.

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

While much of the expert analysis highlights the singular brilliance of prominent auteurs, their successes suggest something changing between audiences and the category.

“Many have expressed, ‘You should watch this even if horror isn’t your thing,’” says a content buying lead.

“Such movies experiment with style and format to produce entirely fresh content, connecting with viewers on a new level.”

But beyond creative value, the consistent popularity of frightening features this year implies they are giving audiences something that’s highly necessary: therapeutic relief.

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

“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,” says a prominent scholar of horror film history.

In the context of a current events featuring geopolitical strife, enforcement actions, extremist rises, and ecological disasters, witches, zombies and vengeful spirits connect in new ways with viewers.

“I read somewhere that the success of vampire movies is linked to economically depressed times,” states an star from a recent horror hit.

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

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

Experts point to the rise of German expressionism after the first world war and the unstable environment of the post-war Germany, with movies such as The Cabinet of Dr Caligari and Nosferatu: A Symphony of Horror.

Subsequently came 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 historian.

“Thus, it mirrors widespread fears about migration.”

The specter of immigration shaped the recently released supernatural tale a recent film title.

Its writer-director 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.”

Maybe, the current era of celebrated, politically engaged fright cinema began with a brilliant satire released a year after a contentious political era.

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

“It was a hugely exciting time,” comments a filmmaker whose movie about a murderous foetus was one of the time's landmark films.

“I think it was the beginning of an era when people were opening up to doing a really bonkers horror film which had arthouse aspirations.”

The same filmmaker, who is writing a new horror original, adds: “In the last ten years, public taste has evolved to welcome bolder horror concepts.”

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

Recently, a independent theater opened in a major city, showing cult classics such as a quirky horror title, a classic adaptation and the late-80s version of the expressionist icon.

The renewed interest of this “raw and chaotic” genre is, according to the theater owner, a straightforward answer to the formulaic productions churned out at the box office.

“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 specialist.

Besides the re-emergence of the insane researcher motif – with two adaptations of a literary masterpiece imminent – he predicts we will see scary movies in 2026 and 2027 addressing our present fears: about AI’s dominance in the coming decades and “supernatural elements in political spheres”.

At the same time, a religious-themed scare film The Carpenter’s Son – which tells the story of Mary and Joseph’s struggles after the messiah's arrival, and features well-known actors as the holy parents – is set for release soon, and will definitely create waves through the religious conservatives in the US.</