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The biggest jump-scare the film industry has encountered in 2025? The comeback of horror as a leading genre at the British cinemas.

As a style, it has notably surpassed earlier periods with a 22% year-on-year increase for the UK and Irish box office: over £83 million this year, against £68,612,395 in 2024.

“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 (£16.2m), the latest Conjuring installment (£14.98m) and 28 Years Later (£15.54 million) – have all remained in the cinemas and in the public consciousness.

Although much of the industry commentary centers on the singular brilliance of certain directors, their triumphs point to something changing between moviegoers and the category.

“Viewers often remark, ‘This is a must-see regardless of your genre preferences,’” states a film distribution executive.

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

But beyond creative value, the ongoing appeal of horror movies this year suggests they are giving cinemagoers something that’s highly necessary: therapeutic relief.

“Currently, cinema mirrors the widespread anger, fear, and societal splits,” says a genre expert.

“Scary movies excel at tapping into viewers' fears, amplifying them, allowing you to set aside daily worries and concentrate on the on-screen terror,” remarks a noted author of classic monster stories.

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

“It’s been noted that vampire cinema thrives during periods of economic hardship,” says an actress from a popular scary movie.

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

Historically, public discord has always impacted scary movies.

Analysts reference the surge of German expressionism after the the Great War and the unstable environment of the post-war Germany, with features such as The Cabinet of Dr Caligari and the iconic vampire tale.

Later occurred the Great Depression era and Universal Studios’ Frankenstein and The Wolfman.

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

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

The specter of immigration influenced the just-premiered rural fright 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 current era of acclaimed, socially switched-on horror started with a brilliant satire released a year after a divisive leadership period.

It introduced a new wave of horror auteurs, including several notable names.

“That period was incredibly stimulating,” comments a creator whose film about a murderous foetus was one of the era’s tentpole movies.

“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.”

Simultaneously, there has been a revival of the underrated horror works.

In recent months, 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 renewed interest of this “raw and chaotic” genre is, according to the venue creator, a straightforward answer to the calculated releases churned out at the theaters.

“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.”

Horror films continue to disrupt conventions.

“These movies uniquely blend vintage vibes with contemporary relevance,” observes an specialist.

Alongside the revival of the insane researcher motif – with several renditions of a classic novel imminent – he anticipates we will see scary movies in the near future reacting to our current anxieties: about tech supremacy in the near future and “vampires living in the Trump tower”.

In the interim, “Jesus horror” The Carpenter’s Son – which depicts the events of Mary and Joseph’s struggles after the messiah's arrival, and stars famous performers as the sacred figures – is planned for launch later this year, and will certainly create waves through the religious conservatives in the US.</