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Think back to the first horror film you ever watched; how did it make you feel? Did you cover your eyes at the gory scenes? Maybe you felt a lingering sense of paranoia on the way home or lay awake at night thinking about what might be lurking in the dark. Whilst I may have experienced this not too long ago after returning from the London premiere of Smile 2, I’m almost certain these are universal experiences, and whether alone or with friends – horror’s goal is set out to scare you.
But what is it about horror that seduces audiences? Well, in a recent collaborative study conducted by Differentology, Digital Cinema Media (DCM) found that 2 in 3 cinemagoers are motivated to watch horrors at the cinema because they actually ‘enjoy the thrill of horror films’. In this dopamine-driven, sensation-seeking era, horror lovers crave the adrenaline and thrill that they know only horror can deliver. Instead of horror being seen as something perverse, it can be seen as a 'form of catharsis,' releasing positive endorphins and helping boost overall mood.
That’s exactly what Anna Bogutskaya argues in her book Feeding the Monster: Why Horror Has a Hold on Us. She also writes that the last decade of cinema has been defined by two genres: superhero and horror. The former has shaped the boom in cinematic cultural events, providing audiences with recognisable IP in the form of remakes and marketable products. Whereas horror has been busy 'creating brand-new stories and launching new storytellers' without the need for huge budgets.
These mid-budget horror films don’t need to rely on lucrative and elaborate promotions, rather it’s the elusive marketing that attracts people in, and these audiences highly trust the genre to give them exactly what they need.
Horror’s dedicated fandom
This cult-genre has a dedicated and growing fandom and has seen a hugely significant 80% increase in fanship since 2015 (from 2.5m to 4.5m). With over 2 in 3 of horror fans claiming they watch a new cinema release within the first week of opening, the horror fandom is arguably the most dependable audience. They turn up early to avoid spoilers and are ultimately first in the cultural conversation. But this community doesn’t stop there, this fandom is incredibly active on social media, with over 3.3 million members interacting with the Reddit thread r/horror and horror branded sites like Bloody Disgusting attracting approx. 20 million unique users annually.
Community is evidently important in the consumption of content, with theatrical releases being one of the only forms of medias encouraging these shared moments, compared to increased solus viewing across social media and TV.
New blood vs serial thrillers
If you think about the strong succession of films that have defined the genre over the past decade, from Hereditary (2018) to Talk to Me (2023), it’s evident that these hold a longer-lasting impact on the community than originally expected or even intended.
You’ve got the likes of Longlegs, which stepped over its competition with a marketing masterclass. Creating huge buzz after debuting the trailer mere weeks before release, it delivered 3x more admissions than originally forecast. Beyond its core-community, horror is now (finally) receiving wide-spread industry recognition at the 2026 Academy Awards, achieving its first acting wins in 15 years for Sinners and Weapons.
But despite the rise and preference of art-horror titles, commercially appealing franchises have mustered major success at the box office, with 2025 sequels like The Conjuring: Last Rites (£18.3m) and 28 Years Later (£15.5m) becoming the third and fourth most successful horror titles of the last decade.
Continuing a successful 2025, the 2026 slate is filled with an abundance of elevated-horror titles and returning franchises:
- Exit 8 (24 Apr)
- Hokum (01 May)
- Obsession (15 May)
- Passenger (22 May)
- Backrooms (29 May)
- Evil Dead Burn (10 July)
- Ice Cream Man (07 August)
- Insidious: Out of the Further (21 August)
- Resident Evil (18 September)
- Other Mommy (09 October)
- Clayface (23 October)
Horror doesn’t hurt
Historically, some brands have shied away from accessing horror titles in their campaigns, however it’s been consistently proven that brands needn’t fear the genre. After all, consumers certainly aren’t being scared away.
In a recent campaign effectiveness study run by Differentology with a goal of understanding the impact of DCM’s new ‘Dead Good Films’ partnership, we found that themes of horror do not negatively impact or deter consumers, in fact, they find it more relevant and engaging if brands adapt to their interests. The study revealed that 2 in 3 of horror fans agree that they 'don't align the brands [they] see advertising in the cinema with any violent or explicit content that may appear in the film [they’re] there to watch.'
Additionally, 4 in 5 horror fans agreed that their 'trust in a brand is not impacted by the kind of film it is advertised before', suggesting that brands have more flexibility and less risk when placing ads around horror content.
What’s more, cinemagoers found the brand to be more engaging and relevant, ultimately boosting trust and positive brand affinity, in addition to multiple other metrics across the funnel:
- 79% agreed their impressions improved after watching the ad
- 61% uplift in recall vs those who weren’t exposed to the ad in the cinema
- 63% intending to buy from brand
The horror genre is only evolving and growing as its dedicated fandom continues to hunger for the thrill, adrenaline and escapism that it delivers. The genre itself and its audiences are consistent and reliable: the genre is its own USP, ‘without depending too much on movie stars or big-name directors’, providing brands with an ideal platform to turn up in an authentic and relevant way that guarantees impactful results on brand metrics. For brands still hiding under the covers, it’s time to turn your bedside light on and reap the benefits of horror’s ferocious fanfare.