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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 box office.

As a style, it has remarkably surpassed earlier periods with a 22% rise compared to last year for the UK and Ireland film earnings: £83.7 million in 2025, compared with £68,612,395 in 2024.

“Last year, no horror film reached £10m at the UK or Irish box office. This year, five films have,” notes a cinema revenue expert.

The big hits of the year – a recent horror title (£11.4m), another hit film (£16.2 million), the latest Conjuring installment (£14.98m) and 28 Years Later (£15.54 million) – have all hung about in the theaters and in the audience's minds.

While much of the expert analysis highlights the unique excellence of renowned filmmakers, their triumphs point to something shifting between viewers and the style.

“I’ve heard people say, ‘Even if you don’t like horror this is a film you need to see,’” states a film distribution executive.

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

But outside of aesthetic quality, the steady demand of horror movies this year implies they are giving audiences something that’s much needed: therapeutic relief.

“Right now, there’s a lot of anger, fear and division that’s being reflected in cinema,” observes a film commentator.

“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 noted author of horror film history.

Amid a real-world news cycle featuring war, border tensions, far-right movements, and environmental crises, supernatural beings and undead creatures strike a unique chord with viewers.

“Some research suggests vampire film popularity correlates with financial downturns,” comments an actress from a recent horror hit.

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

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

Scholars point to the surge of German expressionism after the the Great War and the chaotic atmosphere of the 1920s Europe, with features such as The Cabinet of Dr Caligari and the iconic vampire tale.

Later occurred the economic crisis of the 30s and Universal Studios’ Frankenstein and The Wolfman.

“The classic example is Dracula: you get this invasion of Britain by someone from eastern Europe who then causes this infection that gets spread in all sorts of ways and threatens the Anglo-Saxon heroes,” notes a commentator.

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

The specter of migration influenced the newly launched supernatural tale a recent film title.

The filmmaker 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.”

“Secondly, the idea that you could be with someone you know and then suddenly they blurt out something round the dinner table or in a Facebook post and you’re like, ‘Where did that come from?’”

Arguably, the present time of celebrated, politically engaged fright cinema began with a sharp parody debuted a year after a divisive leadership period.

It sparked a recent surge of innovative filmmakers, including several notable names.

“Those years were remarkably vibrant,” says a filmmaker whose film about a deadly unborn child was one of the period's key works.

“I believe it initiated a trend toward eccentric, high-concept horror that aimed for artistic recognition.”

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 revival of the underrated horror works.

Recently, a new cinema opened in London, showing underground films such as The Greasy Strangler, The Fall of the House of Usher and the late-80s version of Dr Caligari.

The fresh acclaim of this “raw and chaotic” genre is, according to the theater owner, a straightforward answer to the algorithmic content pumped out at the cinemas.

“It counters the polished content from big producers. The industry has become blander and more foreseeable. Numerous blockbusters share the same traits,” 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 upset the establishment.

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

In addition to the revival of the mad scientist trope – with two adaptations of a well-known story imminent – he anticipates we will see horror films in the coming years addressing our current anxieties: about artificial intelligence control in the near future and “vampires living in the Trump tower”.

Meanwhile, “Jesus horror” The Carpenter’s Son – which narrates the tale of Mary and Joseph’s struggles after the nativity, and includes celebrated stars as the sacred figures – is planned for launch soon, and will definitely cause a stir through the Christian right in the America.</