Back to Basics in Horror
Back to monsters, slashers, and gore
Horror, like any other genre, behaves in cycles. Someone introduces something, people copy it, people get bored of it, and the cycle continues forever.
In recent history, the introduction to slow-burn and elevated horror have become more than popular in the genre. Films like The Witch (2015), Hereditary (2018), and Skinamarink (2022) all relied on the idea of the slow burn, focusing on the suspense rather than the scares. While slow-burn horror relies on tension and pacing to disturb the audience, elevated horror aims to be more introspective, using the genre as a way to explore deeper concepts.
Often, these two can overlap, but an issue comes from when studios chase after the slow, moody horror without understanding the complexities behind it, resulting in the Hollywood drain getting clogged.
When movies like I am the Pretty Thing That Lives in the House (2016) and She Dies Tomorrow (2020) try to play into the whole slow-burning elevated horror thing, they fall flat. Because the thing about elevated horror is that… well, it needs to be elevated.
Now, horror is moving back to what it was in its golden years: monsters, slashers, and guts. Instead of having to wait for over 90 minutes for a scare, audiences are being slapped in the face with crazy kills and creative practical effects. Oh, and we’re getting totally merchandisable villains again.
ELEVATED HORROR IS COOL… UNTIL IT’S NOT
Elevated horror is amazing, there’s no doubt about that. A horror film reflecting on the real-world is nothing new, but elevated horror typically runs with these things by being heavy on the metaphors and crazy into the psychological horror. Any great horror film can have deeper meaning, but when you lean too much into the metaphors, it may turn some audiences off, especially if they’re seeking to have those goosebumps.
While a good slow-burn film can cause great unease in oneself, a bad-slow burn horror can be a snooze fest. A movie like Get Out (2019) uses its time wisely, crafting atmospheric suspense that brings audiences in for the ride. It doesn’t feel boring because the story is constantly moving, and the dread is always looming over the characters, thus making it feel worth it.
On the flip side, other films like Men (2022) can rely too heavily on metaphors and surrealism, causing a divide between the audience and the material. Instead of feeling unsettled, they feel frustrated, unsure of where the horror lies within the film.
Of course, this all comes down to the people watching it – these types of movies always divide audiences on whether to label it as a “good” horror movie or not. Skinamarink was one of the biggest “elevated” horror films to cause audience division, with some people loving the atmosphere while others found it to be too boring.
Its abstract approach, which is directly influenced by analog horror, steered away from traditional storytelling. The plot wasn’t linear, and instead felt too open to some critics, thus relying on the feeling the movie gave you rather than a story. To some, these types of movies can rely too heavily on the vibes.
What makes a slow-burn horror work is balance–you’re meant to have that constant emotional tension so that the payoff feels earned. When you force the audience to be in meaningless suspense for an entire movie, they may grow resentful, feeling like their time was wasted rather than feeling satisfied… because suspense without any purpose isn’t really suspense. It’s just a waiting game at that point.
THE RETURN OF THE BIG THREE
So, we’re kinda having a horror renaissance. Monsters, slashers, and extreme gore are back in style… and audiences are loving it.
Classic Monsters Are SO Back
Studios are taking notice that people still love classic monsters, and they’re making sure to bring them back in bold new ways. From gothic horrors to modern fear, these iconic monsters are making way for their magnificent return from the grave.
Vampires:
Renfield (2023) - A comedic horror film exploring how Dracula abuses his assistant. Also, Nicholas Cage is THE vampire, sooooo…
The Last Voyage of the Demeter (2023) - A more moody horror focusing on Dracula’s illegal trip at sea.
Abigail (2024) - A fun and fresh take on vampirism, blending heist film with “holy shit did she just do that?’ thrills.
Nosferatu (2024) - One of the biggest hits of 2024, this remake of the 1920s gothic classic spun heads. Now includes a mustache and an Oscar nomination.
Salem’s Lot (2024) - A new imagining of Stephen King’s novel. Just as creepy and just as cool.
Sinners (2025) - An upcoming vampire film presumably set in the 1920s south, featuring a star studded cast and new look at the bloodthirsty undead. I’m really excited about this one.
Werewolves:
Werewolves Within (2021) - A horror-comedy murder mystery with werewolf themes.
The Wolf Man (2025) - Blumhouse’s modern take on the classic werewolf… up to you if it’s any good, though.
Frankenstein’s Monster:
Lisa Frankenstein (2024) - A fun and quirky comedy film filled with romance and horror, putting a 1980s twist on a classic.
Frankenstein (2025) - An upcoming film by Guillermo del Toro that reimagines the classic Mary Shelley novel starring Oscar Isaac, Mia Goth, and Jacob Elordi.
The Bride (2025) - An upcoming film starring Christian Bale and Jessie Buckley directed by Maggie Gyllenhaal, focusing on the Bride of Frankenstein.
Zombies & Demons:
28 Years Later (2025) - The highly anticipated upcoming addition to 28 Days Later and 28 Weeks Later.
Evil Dead Rise (2023) - The Evil Dead franchise’s latest film full of nasty demons and gruesome cheese graters.
This isn’t just about the movies, though. This is a monstrous comeback, with Universal Studios leading the charge. With the studio reviving its classic horror lineup with The Invisible Man (2020), The Wolf Man (2025) and an upcoming Mummy reboot, they’re ready to cash in on their legendary films. Even their Dark Universe theme park land is set to focus on these iconic characters, proving that these monsters are still as relevant as ever.
But monsters aren’t the only ones making a comeback. Slashers, too, are seeing a blood-soaked revival, proving that audiences are fiending for some high-body-count horror.
The Slasher Renaissance
Much like the popularity contest of the 1980s, studios are battling it out to make the next big slasher. Art the Clown is seemingly leading the charge, but it’s obvious that Hollywood is racing to make the next big Freddy or Jason. Here’s who’s in:
Terrifer franchise (2016-present) - Art the Clown is a household name now, leading the gory slasher renaissance as the newest horror icon.
Pearl (2022) - A female-led slasher film, exploring the depths of the main character’s mental decline and fall into her murder spree.
Heart Eyes (2025) - A Valentine’s Day horror full of comedy, romance, and hella kills. Extremely fun and fresh, yet nostalgic all at the same time.
Totally Killer (2023) - A time travelling slasher based in the 80s, but focused on what modern horror is all about.
Hell of a Summer (2025) - An upcoming summer camp slasher by Finn Wolfhard, totally taking some inspiration from Jason Voorhees.
In A Violent Nature (2024) - A unique slasher based on being in the killer’s perspective, putting audience’s in the antagonist’s head.
Thanksgiving (2023) - A Thanksgiving-themed slasher with a pilgrim killer that haunts Plymouth, Massachuettes.
It’s a Wonderful Knife (2023) - A holiday horror twist on the idea of It’s a Wonderful Life.
Winnie the Pooh: Blood and Honey (2023) - I have to count this one, I fear. The public domain turned slasher trend is weird… but it’s a thing.
Slashers are BACK, baby, and they’re only getting bloodier and bloodier. People are loving the return of nostalgic horror, rooting for final girls (or guys), yelling at the screen, and cringing at brutal yet creative kills.
Gore and Body Horror are Making it Messy Again
Monsters and slashers aren’t the only ones making a comeback–horror is embracing pure, bloody mayhem again. Extreme kills and grotesque transformations are dominating again, showing that audiences are craving raw and shock.
Gore-Driven Horror
Terrifier 2 (2022) - Okay, he’s back. This film pushed slasher gore to new heights, becoming a shocking hit.
Saw X (2023) - The return of the iconic Saw franchise, bringing back the creative kills and crazy traps.
Final Destination: Bloodlines (2025) - An upcoming addition to the Final Destination franchise. With the crazy hype, it proves that people love this wild death machine of a franchise still.
The Monkey (2025) - A Stephen King adaptation, blending supernatural lore with an insane level of gore.
Body Horror Resurgence
The Substance (2024) - One of the biggest horror films of 2024, it got an Oscar nomination just like its vampire bestie.
Smile 2 (2024) - Focusing on a famed pop star, there’s plenty of mind-bending body gore in this one.
Late Night with the Devil (2023) - A found-footage film embracing practical effects and 1970s talk shows.
BUT WHY?
The big question here is why are these things coming back into popularity?
It’s complex. Part of it has to do with people simply having fatigue over slow-burn and elevated horror, wanting a quick thrill rather than having to wait.
It’s not just genre fatigue though, some of it has to do with recent economic struggles. People are turning to horror for escapism, as movies are still one of the cheaper alternatives for entertainment.
During The Great Depression, movies were about 25¢, making them a perfect pastime for troubled Americans. The average weekly attendance for the movies was around 60-90 million people, with many using films as a means to forget their hardships if only for a few hours.
Many of those films that people flocked to were horror, including the classic monsters of Universal. Legendary movies like Dracula (1931), Frankenstein (1931), The Invisible Man (1933), and The Mummy (1931) all released during this time frame, giving people a chance to release their pent up emotions. People could scream their heads off, using the films as a therapeutic release in facing financial struggles. To them, facing the monsters on the screen was a lot easier than sitting in another bread line.
Just like The Great Depression, audiences don’t always want horror to reflect their own struggles… They want it to distract them. It’s not always about deep metaphors. Sometimes, you just want to watch creepy slashers hack someone’s head off with an axe.
Final Thoughts
Part of me feels there’s a major shift in the horror genre. To see a body horror fest and a creature feature film both get nominated for Oscars is certainly exciting, and it makes me wonder if this new resurgence is going to last.
Certainly, I hope there’s a balance to it. I want body horror and slashers, but I also want elevated horror. Hell, maybe even blend them together if you can. Really, I just want to continue seeing fresh and fun ideas in the genre.
"During The Great Depression, movies were about 25¢, making them a perfect pastime for troubled Americans. The average weekly attendance for the movies was around 60-90 million people, with many using films as a means to forget their hardships if only for a few hours."
The film studios knew their audiences much better then than now. They knew audiences wanted escapist narratives in the Depression time, so they gave it to them.
Terrific article. The great thing about horror is that there are so many sub-genres, that there is something for everybody. I do like what is called 'elevated' horror(even though I find that term to be pompous) or maybe call it art house horror(which might just be as snooty) The problem that it is running into is that often time the writer/director tries to get too clever with the narrative and for those types of films to work for me the point of view character has to be someone I can relate too or find likeable and the story has to be engaging. I often find myself turning off movie safter twenty minutes just because I'm too bored with what is going on. Also, I think these elevated horror movies are starting their own tropes. For example ' lets shock the audience by killing a baby or child'... yawn that ship sailed along time ago. You are not doing anything new.