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The biggest surprise the cinema world has witnessed in 2025? The return of horror as a dominant force at the UK film market.

As a category, it has notably surpassed past times with a 22% rise compared to last year for the UK and Ireland film earnings: over £83 million this year, 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,” comments a cinema revenue expert.

The major successes of the year – Weapons (£11.4m), another hit film (£16.2m), The Conjuring Last Rites (£14.98m) and the sequel to a classic (£15.54 million) – have all remained in the cinemas and in the audience's minds.

Even though much of the professional discussion focuses on the standout quality of prominent auteurs, their achievements point to something changing between audiences and the style.

“Viewers often remark, ‘This is a must-see regardless of your genre preferences,’” explains 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 creative value, the ongoing appeal of horror movies this year indicates they are giving audiences something that’s greatly desired: therapeutic relief.

“Currently, cinema mirrors the widespread anger, fear, and societal splits,” notes a horror podcast host.

“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.

In the context of a current events featuring conflict, immigration issues, political shifts, and climate concerns, ghosts, monsters, and mythical entities resonate a bit differently with filmg oers.

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

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

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

Experts point to the rise of European artistic movements after the WWI and the turbulent times of the post-war Germany, with features such as classic silent horror and a pioneering fright film.

Subsequently came the economic crisis of the 30s and iconic horror characters.

“Take Dracula: it depicts an Eastern European figure invading Britain, spreading a metaphorical infection that endangers local protagonists,” says a historian.

“Thus, it mirrors widespread fears about migration.”

The boogeyman of migration influenced the recently released supernatural tale a recent film title.

The creator explains: “My goal was to examine populist trends. For instance, nostalgic phrases promising a return to a 'better' era that excluded many.”

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

Perhaps, the present time of acclaimed, socially switched-on horror began with a sharp parody debuted a year after a polarizing administration.

It ushered in a recent surge of horror auteurs, including a range of talented artists.

“It was a hugely exciting time,” says a creator whose film about a violent prenatal entity 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.”

The director, currently developing another scary story, continues: “Over 10 years, audiences’ minds have been opening up to much more of that.”

At the same time, there has been a reconsideration of the underrated horror works.

Recently, a new cinema opened in London, showing underground films such as The Greasy Strangler, a classic adaptation and the 1989 remake of the expressionist icon.

The re-appreciation of this “raw and chaotic” genre is, according to the theater owner, a straightforward answer to the formulaic productions produced 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 explains.

“On the other hand, [these indie works] feel imperfect. They seem to burst forth from deep creativity, free from commercial constraints.”

Fright flicks continue to challenge the norm.

“Horror possesses a dual nature, feeling both classic and current simultaneously,” says an expert.

In addition to the revival of the mad scientist trope – with multiple versions of a classic novel on the horizon – he forecasts we will see horror films in the coming years addressing our present fears: about tech supremacy in the near future and “vampires living in the Trump tower”.

Meanwhile, “Jesus horror” a forthcoming title – which depicts the events of Mary and Joseph’s struggles after Jesus’s birth, and features famous performers 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.</