THE BEST HORROR OF 2025

2025 has been an interesting year for horror. Whilst some of the bigger budget studio horrors flattered to deceive, we were treated to some bold and inventive features that delivered plenty of shocks and talking points. Rather than do the usual 'top 10 best horror movies' list, here are YGROY choice awards (and runner ups) for a variety of subjects. From best scene, lead performance to the scariest.

The best horror of the year

Winner: SINNERS

Director: Ryan Coogler

For a genre film to become a big hitter and a cultural touchpoint, it has to connect with the general audience in several places at once. Thankfully, there have been a couple of those in 2025, and none made more of an impact than Ryan Coogler’s “Sinners”. Maybe it was a touch overrated by some critics, and the box-office takings were a big surprise, but… dang, if it isn’t a spellbinding movie full of wonderful things. Michael B. Jordan doing excellent work in (literal) twin roles. Hailee Steinfeld gleefully embracing a sex goddess role. Jack O’Connell cheekily playing a river-dancing blood-sucker. A ton of brilliant character actors in supporting roles. A mesmerising take on the importance of Black History milestones. An unexpected and full-blooded take on vampire mythology. Some stunning imagery and a fantastic experience… especially if viewed in an appreciative cinema audience. Need we say more? We need more films like this in our lives. Sinners take all. 

Runner-Up: WEAPONS

Director: Zach Cregger

To one of the team’s eternal shame, they slightly undermarked this when it was first released in a review. It is a brilliant film with great acting, but its core story is so weird and offbeat that it takes you aback. Genuine quote from a fellow audience member when the credits rolled after a screening: “What the fuck did I just watch?” On reflection and after several rewatches, not to mention the fact that the film was wholeheartedly loved by audiences everywhere (which is a lovely snapshot of the way in which most people perceived the genre itself in 2025), this was a huge success in an artistic and commercial sense. From the unorthodox villain (who is only revealed gradually and is atypical in context), to the compelling performances from Julia Garner and Josh Brolin, and THAT ending which is both horrible and hilarious. It’s just a great genre movie that could easily have stunk badly, but instead cemented Zach Cregger’s directing abilities as an accomplished storyteller. Can’t help thinking that a prequel (centred on the surprise villain) is a mistake waiting to happen though… 

SCARIEST FILM

Winner: PRESENCE

Director: Steven Soderbergh

It wasn’t perfect by any stretch of the imagination, but Steven Soderbergh’s POV-Ghost-Story is still an excellent movie. Possibly a bit too slow burning for its own good, it nonetheless has some cracking moments that send tingles up the spine and make you genuinely scared for the characters in the story. And that’s why this is held up as one of the “scariest” offerings from last year. Yes, there are occasional jump scares, gasp-worthy revelations, and there are moments where cast members are being “haunted” by the camera that crank up the unease level. But the scariest moments are saved for the final act and come mostly from non-spectral sources. It culminates in genuine heart-in-mouth tension and fearful sequences where the supernatural and all-too-believable acts of mortal evil combine to provide a sadly perfect denouement, which makes sense (sort of) regarding all the events that have led to that moment. Possibly a sum of its parts rather than a knockout experience, this is nonetheless something that is worth catching if you missed it.

Runner-Up: THE LONG WALK

Director: Francis Lawrence

Say what? Stephen King’s dystopian kill-a-kid-fest is scary? Well, yes. And we’ll qualify this. It’s scary on two particular fronts. One being that old adage of tension-building and not knowing when/if your favourite character is going to bite the bullet, whether it is a long, drawn-out affair or a sudden shot to the head. Secondly is the existential slant of the whole thing. Whatever allegory you take away from the story (kids being sent to war, the next generation being sacrificed for selfish reasons, the insane lengths of reality TV, and so on), the whole damn thing feels like it’s one step away from real-life and horribly believable as a potential future… especially in the current climate. Put this on a double-bill with Alex Garland’s “Civil War”, and you have a perfect reason for thinking that the future might be a nice place to visit… but you wouldn’t want to stay there!

BIGGEST DISAPPOINTMENT

WINNER: WOLF MAN

Director: Leigh Whannell

Oh man! And this had such potential! A seemingly perfect follow-up to the brilliant update of “The Invisible Man”, which was also helmed by Leigh Whannell, it had horror fans drooling. But then the first leading man, Ryan Gosling, dropped out (along with original director Derek Cianfrance), and the premise was reworked. Whereas the technological/abuse slant of “Invisible Man” worked beautifully, “Wolf Man” was a dour and depressing diatribe on mortality, family love, and the way in which sickness changes people. Julia Garner (so good in “Weapons”) is wasted here, the werewolf design is awful (harkening back to the primitive Lon Chaney version), and there’s an obvious plot twist that you can see being set up just after the opening credits! It should have been thrilling and scary, but ends up being forgettable and sad.

RUNNER UP: OPUS

Director: Mark Anthony Green

You’d expect a modern horror with John Malkovich playing a retired pop star who summons critics to his retreat to be either OTT campy fun or supremely creepy. A modern-day “Theatre of Death” maybe, or at least a song-based version of the recent “The Menu”. But nope, this is just plain weird, wacky, and disappointing. Malkovich is obviously having a ball, with one sequence literally having him wiggle his arse in the face of fans and groin-thrust at others. But otherwise it is a complete waste of a talented cast, which also includes Ayo Edebiri, Juliette Lewis, and Amber Midthunder. There are a couple of well-worked moments of unease, and the theme of the “Levelist” cult is intriguing, but otherwise this is a misfire. It all feels a bit mad, disjointed, and tiring, rather than entertaining or horrific.

BEST LEAD PERFORMANCE

WINNER: COOPER HOFFMAN/DAVID JONSSON (THE LONG WALK)

To be honest, it would be easy to suggest Julia Garner for “Weapons” or Michael B. Jordan (twice) for “Sinners”, but the leads in “The Long Walk” are so damned good that they deserve recognition. In fact, pretty much every member of the cast in this film nails their character, but Hoffman (Ray) and Jonsson (Pete) are so integral to the plot, along with their burgeoning friendship, that they could ruin the premise if they didn’t hit their marks. Happily, they did, and the changes to the novel’s story (no spoilers here) work all the better because of their pitch-perfect chemistry and the tone which they strike. From strangers to buddies, not to mention their developed revolutionary spirit, they make an excellent double-act and provide hope in a broken world. It’s hard to think of two leading performances that are better than the ones they provide.  

RUNNER-UP: INDY (GOOD BOY)

Yes! We’re going there. If the Oscars and the Golden Globes won’t do it, then we bloody well will! Indy proves that animals (especially in horror) are capable of much more than responding to offscreen prompts and reacting to treats. It was a long filming schedule (3 years, over 200 days of shooting), but the dog absolutely kills it! Indy pads about, looks concerned, becomes scared (wets himself!), breaks into rooms, and hunts diabolical entities… and at no point do you seriously believe that Indy is not a real dog in an authentic situation, reacting to save his beloved master. Sure, the story loses a little focus and could have more detail in the plot, but that’s not the fault of the leading “actor” who does everything possible to sell this doggy POV horror. CGI has nothing on this pupster’s acting abilities..

BEST YOUNG ACTOR

WINNER: ALFIE WILLIAMS (28 YEARS LATER)

Whilst “28 Years Later” was divisive to many people, it was still an excellent film. And one thing that can’t be argued against is that young Alfie Williams (only 13 years old at the time) gives a phenomenal performance as the key character. You have to admire any actor who can hold their own against accomplished thespians like Ralph Fiennes and Judie Comer, let alone one so young. But, as the troubled “Spike” (who will presumably be a connecting figure across all three films), Williams more than deserves plaudits. The scene where he experiences his mother’s solution to her illness and then makes a personal contribution to the Bone Temple is an absolute masterclass in emotionally understated acting. Hopefully, the introduction of the “Jimmy” Cult won’t dilute his future potential in this (now confirmed) trilogy. 

RUNNER-UP: CARY CHRISTOPHER (WEAPONS)

It’s never easy being the kid left behind or the last one picked for the football team at school. Somewhat similar to that is the horrible situation that poor little Alex finds himself in at his small-town school, when all his classmates disappear. Winningly played by Christopher, who was only 10 at the time of filming, he never comes across as mawkish but only desperately sad and isolated. His personal sacrifices and connection to the villain are perfectly played out by him. It also says a lot that he believably becomes the catalyst for the endgame and that a whole “chapter” of the film is devoted to him in particular. Hopefully, this is the start of big things for the young actor.

BEST FEATURE DIRECTORIAL DEBUT

WINNER: THE UGLY STEPSISTER (EMILIE BLICHFELDT)

Writer and director Emilie Blichfeldt began developing “The Ugly Stepsister” during her time at the Norwegian Film School. Heavily inspired by the originally grim… err… Grimm version of Cinderella ("Aschenputtel", for fairy-tale nerds) and wanting to get away from the camp tone of earlier tales, this is a real winner. It’s also influenced by the body-image issues that proliferate modern society, but it explores these themes in a way that doesn’t dilute the story or overly judge the misguided actions of the lead character. Blessed with a great performance by Lea Myren as Elvira (the title character who is in no way “ugly”), there are frequent excursions into body-horror (the tapeworm!!) and limb mutilation. Rather than being a cheesy fable with black/white characters, nearly all the participants are absolute shits… including Cinderella and the “Handsome Prince”. Paradoxically, the only fully “attractive” individual in all respects is the 2^nd “Ugly Stepsister”. Beautifully assured direction and imagery from Blichfeldt, this is the only fairy tale cinematic experience you should have made sure you had in 2025. Sod “Wicked: For Good”!

RUNNER-UP: COMPANION (DREW HANCOCK)

There was a lot of buzz around this project from the start, but it never really made the impact that many thought it should at the box office. Part of that was arguably due to the efforts to keep the plot twist as secret as possible, meaning that many didn’t predict it being a twisted sci-fi horror. At one time, it was mooted to have been directed by Zach Cregger, but then became the directorial debut for Drew Hancock (who also wrote the story). It’s blessed with two brilliant performances from Sophie Thatcher (Iris) and Jack Quaid (Josh), both of whom play multi-faceted individuals who veer from being good or bad depending on where the plot goes. There are odd tonal shifts, but this is still a superior and confident offering from Hancock, with a fist-bump of an ending. Hopefully, one of his next projects will be a remake of “The Faculty”, which he is (allegedly) currently working on.  

BEST SEQUEL/PREQUEL/REMAKE

Winner: FINAL DESTINATION: BLOODLINES

Director: Zach Lipovsky, Adam B. Stein

To be honest, this was an almost one-pony race. You know when a cancelled TV show is brought back, or a long-hibernating franchise is rebooted, and you think “Please be good! Please be good!”. Well, this was. And how! A beloved franchise with (arguably) only one duff entry (Part 4, come on, nobody likes that one…), this was eagerly anticipated by the horror community. Despite the lack of a numeral and the needless subtitle, this is most definitely “Final Destination 6”. But it didn’t rest on its laurels, and it didn’t just copy previous entries (except for the central concept, obviously). After a fantastic opening disaster, the story opens up some more of the “rules” that Death adheres to, how one person escaped its clutches for years, provides playful red herrings aplenty, and oodles of imaginative Looney-Tunes deaths. Not only that, but it gave a heartbreaking-but-appropriate farewell to Tony Todd’s William Bludworth (*sniff*), even giving him an origin tale. The ending is a bit of a cop-out, but otherwise fantastic. More please.

RUNNER-UP: BLACK PHONE 2

Director: Scott Derrickson

When you kill off the villain in the first film, you generally box yourself into a corner for any follow-ups. Luckily, that’s easy to rectify in our genre, especially when the first film establishes that the dead can come back in some capacity. BP2 was notable in the way in which it was very much a sequel (same villain, returning characters, etc), but also completely different in tone and context (the threat comes from unnatural sources and the protagonists are older/wiser). It helps that the effective acting trinity of Ethan Hawke, Madeleine McGraw, and Mason Thames is reunited after the events of the first film (even if The Grabber is dead meat). They have all developed in interesting and realistic ways (well, apart from the undead sleep-raiding) that work well in this unexpected continuation of the story. Naysayers might have accused it of veering too close to Elm Street, but who cares when the cast and the content is this good.

SURPRISE HIT

WINNER: weapons

Director: Zach Cregger

Ok so there was a certain level of expectation around 'Weapons' - partly due to the fact that most people had so much fun with Zach Cregger’s debut feature 'Barbarian' (one of the surprise hits of 2022). Then the trailers were released. We’re not going to lie; trailers tend to frustrate most of us here at YGROY. They are often too long and give too much away but the marketing people and trailer editors here absolutely nailed it. We were basically told the very basic set up and then treated to a montage of bizarre and intense snippets which spoilt nothing because there was no context to any of it. All of this contributed to a rather incredible box office performance. It cost just under $40m to make, which is a sizeable budget for a film like this. But we're not not sure any of the producers expected that it would take as much money as it did. $269m worldwide, in fact. A 93% Rotten Tomatoes score reveals that not only did the film manage to get bums on seats in a BIG way, but that it satisfied the vast majority of them too. No mean feat.

WINNER: SINNERS

Director: Ryan Coogler

Yeah, we know, a safe and obvious runner up (and a reverse of our film of the year award). But the fact remains that although both films had some degree of hype, they both far exceeded expectations. There’s no denying that 'Sinners' was a roll of the dice from Warner Bros, even if they did have a notable director (Ryan Coogler) and a star playing both lead roles (Michael B. Jordan). But an estimated budget of just under $100m is pretty nuts for a genre blend like this. They needn’t have worried though. It took over three and a half times that in ticket sales and is basically adored across the board by critics and general audience members alike. Fingers crossed these two big (and very successful) swings mean that we will see some more risks being taken with genre films in the future.

best of british

WINNER: 28 YEARS LATER

Director: Danny Boyle

In terms of heavy-hitters in a critical and commercial sense, there wasn’t much to top this belated sequel to the OG fast-zombie franchise. And you can’t get much more British than Danny Boyle filming in North Yorkshire and Northumberland with Ralph Fiennes! It did prove to be divisive in some respects. There’s that wacky ending (leading into “The Bone Temple”, which is out soon) and the fact that the “Infected” are kept mostly to the background for large parts. Nevertheless, this is mature and thoughtful horror (Spike’s tragic coming-of-age), which holds some genuinely stunning imagery (herds of Infected on the skyline, the moonlit chase across the flooded causeway, etc). There are also neat twists, such as the uninfected-infected baby (if that makes sense), and the sheer majesty of Ralph Fiennes’s well-intentioned (but unsettling) Doctor at Large. Hopefully, the bizarreness of the Kung-Fu Jimmy cult and the evolution of the rage virus will be handled well in the next entry of the franchise.

RUNNER-UP: FREWAKA

Director: Aislinn Clarke

Director Aislinn Clarke’s debut feature 'The Devil’s Doorway' is a bit of an underseen gem if you ask us. Set in a Magdalene Laundry in 1960s Ireland, it’s a thought-provoking descent into spiritual madness and Frewaka builds on those themes, weaving together Celtic folklore, Catholic superstition, and a stark sense of female generational trauma. It focuses on Shoo (Clare Monnelly), a weary and emotionally burdened medical caretaker who finds herself confronting the past when tasked with clearing out her estranged mother’s apartment following her suicide. Whereas 'The Devil’s Doorway' utilised it’s found footage format to great success, 'Frewaka' is more conventional in the way it unsettles. Eerie sweeping landscapes, ominous sound design and religious iconography all take centre stage here and it makes for a stylish and dread inducing viewing experience. We’re eagerly awaiting to see what Clarke serves up next…

best tv series

WINNER: ALIEN: EARTH

It’s not really been the strongest year for horror on the small screen. Actually, people’s TVs are so large now can we still call it ‘small screen’. Anyway, we digress. There has been a lot of speculation (and some clamour) for an 'Alien' series for a few years now. Perhaps because the film entries we have had since the turn of the century haven’t really scratched that xenomorph itch. Disney+ employed the services of Noah Hawley, best known for his sterling work on another TV adaptation of a movie ('Fargo') to oversee Alien prequel series ‘Alien: Earth’ and for the most part, it's been a thoroughly intriguing and very cinematic first season and although it’s definitely more sci-fi than horror, there’s enough xeno action to keep us genre fans invested. The predominantly young cast is stellar too, with Sydney Chandler the standout. Experienced pros like Timothy Olyphant and Essie Davis help elevate it all a bit too. A second season has already been confirmed and it will be fascinating to see where they take this. It’s set only two years before Ridley Scott’s 'Alien' (1979) so it will possibly end where that begins. 

RUNNER-UP: WELCOME TO DERRY

The release of the 2017 reboot of 'IT' (how has it been that long?) directed by Andy Muschietti was almost a cinematic event, with the film taking a staggering $719m at the box office and rightly receiving very decent reviews. The sequel didn’t do so well and people rightly wondered if that was that for our visits to Derry. Well fear not! Because Muschietti and Pennywise are back - as are another bunch of spirited nerdy kids trying not to be the latter’s latest meal. Like 'Alien: Earth', 'Welcome to Derry' is a prequel series, set in the 1960s and leading up to the events of the first film. It looks and feels just like the films and although it can be a little too scattergun at times, it’s still a worthy addition to the 'IT' franchise. It’s genuinely dread inducing at times and doesn’t hold back on the gore and like all of King’s best stuff, is centred by a set of really excellent characters who are portrayed terrifically by the young cast. A second season has been confirmed. Good news.

best FOREIGN LANGUAGE

WINNER: THE UGLY STEPSISTER

Director: Emilie Blichfeldt

Easily the best candidate for recognition in a year that was oddly sparse of big overseas horror hits at the cinema and streaming channels. As already mentioned, “Den stygge stesøsteren” was the feature-length directorial debut of Norwegian filmmaker Emilie Blichfeldt, and it’s bloody awesome. From embracing the dark elements of the Cinderella story (mutilated limbs, bone-cracking surgery, ingested tapeworms), to skewering age-old sensibilities regarding body image, this is an alternative take on sugary-sweet happy-ever-afters that entertains and shocks in equal measures. It became so popular on Shudder that an English dub was arranged for streaming alongside the subtitled version. Well worth catching if you missed it this year, and a benchmark for how effective grown-up storytelling can be when applied to well-worn fairy-tales.   

RUNNER-UP: DOLLHOUSE

Director: Shinobu Yaguchi

Directed by Shinobu Yaguchi, 'Dollhouse' is a Japanese horror that follows a grieving mother who buys a lifelike doll resembling her deceased daughter, treating it as family until a new baby arrives and the doll is neglected. I mean, that’d be fine ordinarily. But when the doll has supernatural powers and becomes hellbent on some vengeance? Yeah, you’re in a spot of bother. 'Dollhouse' is one of those movies that sneaks up on you. At first glance, it feels like familiar doll-based horror territory (think 'The Boy') but it quickly turns into something far more unsettling and emotional. This isn’t just about creepy toys; it’s about grief, denial, and what happens when someone simply can’t let go. It’s not quite up there with J-Horror classics such as 'Ringu' or 'The Grudge', but it’s at least a bit of a shot in the arm for a subgenre that has lost its notoriety a bit of late. Plus it’s only 70 minutes long. Perfect.

best ANTAGONIST/VILLAIN

WINNER: GLADYS (WEAPONS)

If you go into “Weapons” cold, you have no idea where it’s going! Least of all the fact that the insidious villain will turn out to be an old-aged witch, who looks like butter wouldn’t melt in her mouth and seemingly plasters on make-up with crayons. And let’s not get into the fact that she’s a sociopathic soul-stealer who sidesteps death because she siphons off the lifeforce of victims and can turn people into the titular objects. Amy Madigan shines in this role as the unlikely antagonist who creates the chaos in the small town of Maybrook and terrorises poor young Alex. It’s a portrayal of unexpected and unadulterated evil that made such an impact on audiences that Madigan got all kinds of plaudits, and we are (apparently) going to get a prequel. Not sure about the wisdom of that decision, but you can’t fault her contribution to the story here. And THAT ending!   

RUNNER-UP: LAURA (BRING HER BACK)

It’s all about the matriarch in horror films these days, and they don’t get much more heinous (albeit also pitiable) than Laura in “Bring Her Back”. Marvellously played by the great Sally Hawkins, the foster mum originally comes across as a bit flaky and inappropriate, with some questionable behaviour and mothering techniques, but mostly her heart is in the right place. Isn’t it? Well, the clue’s in the title as to her obsessive nature and the reason why she is driven to treat her charges so badly. It’s a disturbing character study of how far a loving mother will go to protect her children, even if it’s at the cost of innocent lives. Hawkin’s nails the complex emotions of Laura to provide some really chilling moments where literally no “body” is safe. 

best scene (spoilers!)

WINNER: Aunt Gladys gets a target on her back (WEAPONS)

We’ve already qualified just how much of an absolute scumbag Aunt Glady is in “Weapons”. She bewitches her victims so that they mutilate themselves or hurtle towards others in a killing spree. And this includes a gang of pre-teen children, whom she has heartlessly kidnapped and stored in the cellar. So, when the badly wronged Alex finds a way to turn the tables on her… man, it is so satisfying and a brilliant denouement. Using a strand of her hair, the boy reverses the enchantment, which sends a gang of screaming kids hurtling towards a terrified Gladys. She runs for her life (through dining rooms and gardens), desperate to get away, but is ultimately torn to pieces by her pursuers. This scene is great on so many levels. There’s the fact that it is genuinely funny in appearance with pratfalls and bemused suburbanites double-taking, which juxtaposes with the gore and sheer wrongness of the situation. Most of all, though, it just works as a proper capper to the bizarre tale, and you leave the cinema with an inappropriate grin on your face. 

RUNNER-UP: FALL OF THE SKY VIEW TOWER (FINAL DESTINATIONS: BLOODLINES)

The opening set pieces of the Final Destination films have always been a highlight. Most notable being the log-truck pile-up in Part 2, the rollercoaster carnage in Part 3, and the bridge destruction in Part 5. But the disastrous opening of “Bloodlines” just about tops them all. By now in the franchise, we know something bad is going to happen, and when it involves a stupidly tall observation tower in 1969, you know it’s going to be impressive. Sure enough, when Brec Basinger (really rocking a brief role as young Iris Campbell in the chaotic scenes) steps into the elevator of the Sky View Tower, the usual Rude Goldberg set of Death-inspired events (caused by one dumb kid and a coin) are kicked into motion which results in the gradual and total collapse of the building. Glass floors shatter (whilst the band plays “Shout”), pianos crush people, patrons are set aflame by flambe, explosions rip through the restaurant, elevator doors bisect bodies, and fingers are flayed of skin when someone is holding on for dear life! Of course, this is another premonition (so technically it never happens), but it's classic FD OTT gory shenanigans over the course of 6 minutes… and boy, have we missed it!