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The biggest jump-scare the movie business has experienced in 2025? The comeback of horror as a leading genre at the British cinemas.

As a category, it has impressively surpassed previous years with a 22% year-on-year increase for the British and Irish cinemas: £83.7 million in 2025, versus £68 million the previous year.

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

The top performers of the year – Weapons (£11.4 million), another hit film (£16.2 million), the latest Conjuring installment (£14.98 million) and 28 Years Later (£15.54 million) – have all hung about in the theaters and in the public consciousness.

Even though much of the industry commentary highlights the unique excellence of prominent auteurs, their successes point to something evolving between viewers and the genre.

“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 ongoing appeal of horror movies this year suggests they are giving moviegoers something that’s greatly desired: therapeutic relief.

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

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

Amid a global headlines featuring conflict, immigration issues, political shifts, and climate concerns, witches, zombies and vengeful spirits strike a unique chord with audiences.

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

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

Historically, public discord has always impacted scary movies.

Experts point to the rise of German expressionism after the first world war and the chaotic atmosphere of the early Weimar Republic, with films such as The Cabinet of Dr Caligari and a pioneering fright film.

Later occurred the Great Depression era and iconic horror characters.

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

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

The phantom of migration influenced the recently released folk horror The Severed Sun.

Its writer-director 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.”

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

Maybe, the modern period of celebrated, politically engaged fright cinema began with a clever critique launched a year after a divisive leadership period.

It sparked a new wave of innovative filmmakers, including various prominent figures.

“That period was incredibly stimulating,” comments a filmmaker whose movie about a violent prenatal entity 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 same filmmaker, who is writing a new horror original, adds: “During the past decade, viewers have become more receptive to such innovative approaches.”

Simultaneously, there has been a revival of the overlooked scary films.

In recent months, a nicke l venue opened in London, showing underground films such as The Greasy Strangler, The Fall of the House of Usher and the modern reinterpretation of the expressionist icon.

The re-appreciation of this “gritty and loud” genre is, according to the cinema founder, a direct reaction to the formulaic productions pumped out 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 explains.

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

Scary movies continue to challenge the norm.

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

Alongside the revival of the insane researcher motif – with two adaptations of a classic novel imminent – he forecasts we will see fright features in the near future reacting to our present fears: about artificial intelligence control in the near future and “supernatural elements in political spheres”.

Meanwhile, “Jesus horror” a forthcoming title – which depicts the events of Mary and Joseph’s struggles after the nativity, and features celebrated stars as the holy parents – is scheduled to debut in the coming months, and will undoubtedly cause a stir through the religious conservatives in the US.</