2025’s Horror Genre: A Mixed Bag
This year, 2025 is proving to be a slightly less eventful one for horror films. Compared to previous years, where box office hits were a dime a dozen, this year feels different. Sure, there are still a ton of horror movies gracing screens, but they haven’t quite matched the highs of 2023. Take M3GAN, for instance—it nearly hit $100 million at the domestic box office. Then there’s Scream VI, Five Nights at Freddy’s, Nun II, Conspiracy: Red Door, Tell Me, X, and Thanksgiving. Blumhouse, for one, has seen some hiccups, including layoffs, as M3GAN 2.0 did not perform as expected, even during its opening weekend.
This said, we’ve seen a variety of horror releases this year. Films like I’ll Bring Her Back, Woman in the Garden, Wolf Man, and I Know What You Did Last Summer have made their appearances. Some are actually quite impressive—Wolf Man might be underrated, while Woman in the Garden is beautifully crafted. But the spotlight seems to shine on a select few: Robert Eggers’ Nosferatu, Danny Boyle’s 28 Years Later, and Ryan Coogler’s Sinner. These filmmakers are positioning themselves for titles like Weapons, a follow-up to Zach Cregger’s surprise hit from 2022, Wild B. And let’s not forget Jordan Peele, who has cemented his status as a top director in horror.
Branded horror is still a strong contender for box office success. Final Destination has a legacy that speaks volumes, and it’s still one of the biggest films this year. Yet it barely scratches the surface of what Sinner aims to achieve. With Cregger now on deck, it’s an exciting time for horror enthusiasts, especially as he embarks on a new chapter with Warner Bros.
Interestingly, while these directors are emerging as names to watch, they don’t quite hold the lasting appeal of horror icons like Freddy, Jason, or Michael Myers. It’s noteworthy that two of these three characters have been sidelined due to legal issues. Still, Cregger’s ascent feels significant. His ability to build a brand based on originality speaks volumes. As Robert Eggers dives into the world of Gothic horror with Nosferatu, it highlights the unpredictable nature of creative contracts in this genre.
After experiencing Weapons, one might feel a lingering curiosity. Cregger cites Magnolia as an early inspiration for this multi-character horror drama, though it won’t likely be hailed as the next Paul Thomas Anderson masterpiece. Still, it carries a similar energy. The film kicks off at 2:17 a.m., when nearly every third grader mysteriously leaves their beds and vanishes into the night, leaving frantic parents and a baffled teacher, played by Julia Garner, scrambling to understand what’s going on. From there, the narrative juggles multiple viewpoints, slowly unraveling this eerie mystery.
This winding plot could easily dominate the narrative, though it feels like spoilers don’t really spoil much here. Both Weapons and Wild B share an interest in exploring unsettling themes disguised as conventional stories before diving headfirst into more terrifying territory, sprinkled with some level of exploitation. The themes feel a bit disjointed at times, especially upon the first viewing. The playfulness around toxic masculinity in Wild B contrasts sharply with how Weapons addresses parent-child dynamics.
Still, it’s refreshing to see a filmmaker delve into narratives that don’t rely on existing brands or accessible metaphors. While Weapons shares a certain dark fairy tale vibe with Wild B, it maintains its own unique energy, creating a more grounded experience. However, much like Sinner and 28 Years Later, it carries a heavy sense of dread, executed with confidence. It’s too soon to say whether Cregger will follow in the footsteps of directors like Coogler and Boyle, who started in horror but moved on to different genres. While Weapons may not evoke the emotional weight of some of its contemporaries, it stands as a testament that fresh perspectives are emerging in a genre that’s far from complacent.
