Why Are Horror Film Opinions So Divisive?

By: Myriam Akbar

        From the very beginning of 2025, I noticed that audience opinions on horror releases were incredibly divisive. From Presence, to Wolf Man, to The Woman in the Yard. I decided to examine this and write a piece from my perspective (already on my site); however now, I would like to communicate how some horror and film content creators feel. My conclusion was that the divisiveness stems from expectation, desire for films to be “scary,” lack of recognition that the genre has an evolutionary process, and nonacceptance of multi-genre projects. I used my findings to ask a few questions surrounding these topics.

1) Do you feel that the opinions on recent horror films have been divisive, why or why not? 

2) Do you believe horror films inherently need to be “scary?” 

3) How do you feel about multi-genre horror films?

Horror films are being released in abundance due to the rise of streaming services and binge watching, some of being an effect of the COVID-19 pandemic. While the genre has always had its lifelong and hardcore fans, it has accumulated a ton more over the past few years. In this bubble of content creation, our experience of watching films might be different from those engaging without the intent of sharing one’s opinion. Although we still seek entertainment, we are simultaneously analyzing and notetaking somewhere in our minds. However, social media offers the opportunity for anyone to share their thoughts–making public opinion a part of cinema related discourse and a determining factor of a film’s greatness. This brings about competition regarding timeliness of reviews, popularity bias or bandwagoning, as well as for some–the motivation to join the bashing of a film etc. 

Jesse Whitaker acknowledges the role social media has in creating buzz for a film when it’s released, arguing that it significantly impacts a film’s reception. “A content creator can influence the way people view a film just based on their reviews. People tend to follow trends and form their thoughts based on those of the creators they like,” he says. ABadWitch also takes social media influence into account when considering influence on film discourse, given that some creators are paid to promote content. “Even if they don’t like it, they’ll say something nice because they were invited to a screening or premiere. On the other hand, if enough popular pages review-bomb a film, it gets less traction after that. It ruins the momentum of the entire project, which is unfortunate,” she says. 

Stefan Shroud suggests that the polarizing nature of horror film discussions is due to the genre being taken a lot more seriously than it was 15-20 years ago. “I think expectations are higher and that’s why the division is there. People are expecting more from the genre now.” However, Final Girls Anonymous argues that our passion for the genre is what creates the variance in opinions. “We tend to attach ourselves to films and themes that spark something within our own identity–so when met with a contrary opinion, it can feel like a personal attack,” she says. Blue70mm also brings up contrarianism, saying that “opinions on horror releases are so divisive because people are quick to judge and it has created a culture that prioritizes being critical over being thoughtful.” Clementine Verault is disappointed by this online culture that makes it difficult to share one's opinion, because doing so can result in getting attacked in the comment section. “The beauty of art is that it’s open to interpretation, but the lack of media literacy is kind of killing that. We all walk away from films with different perspectives and feelings based on our personal experiences and backgrounds—that’s the whole point.” Our different backgrounds, feelings, and perspectives shape our taste, which Taste of Cinema spoke on when I asked him why he thinks horror film opinions are so divisive. “I think this is because the genre has become more experimental lately. Filmmakers are mixing genres, pushing psychological angles, and taking big stylistic risks. That means that some movies really click with certain audiences, while completely missing for others. So it’s less about quality and more about taste.” 

Evangile proposes that theme is a driving force for division, “The themes behind many horror films released this year are divisive because they don’t exist in a vacuum. These films speak about realistic issues in society–ones that many people are afraid to confront. Some viewers only expect cheap scares and are not watching to resonate with a deeper meaning.” Janecka Olen-Deer of Scream Queen Podcast shares a similar perspective, making the claim that opinions have been polarizing recently due to more diverse voices in the genre. “There’s more women directors and more representation of minorities in modern horror. A lot of the people reviewing these films are not representative of the culture and issues being reflected upon,” she says. 

Tyrone of EvolFMPodcast addresses the role trailers have in shaping the expectations of horror films, sometimes confusing the audience and creating division in opinion. He says, “They either show too much of the shocking parts or arrange them in a way that is not representative of the actual film.” Similarly, Chunky Larry of Creator Features Podcast believes that trailers can harm the cinematic experience when there’s a lack of artistic integrity and marketing departments don’t have the audience’s best interests in mind. “Part consuming the story is the journey and the markers of the journey are revelations. If the revelations are given away or manipulated, the product will never be able to live up to the expectations,” he argues. ViktorTheeWriter also takes into account how trailers have an impact on the scare factor. “They create the overall feel and look of the film; for example, the voiceover, music, and lighting make a difference in how frightening the film might be to the audience.” 

 ReelDumb opened my eyes to a very good point regarding the divisiveness within horror film discourse. “Why is this happening? Because nothing is allowed to just be fine. Nothing can be mid. Everything has to be the best or scariest movie ever.” I see this often online–discussions where people label a film “trash” if it isn’t five stars or doesn’t satisfy their expectations. I personally don’t believe in a perfect film; however, some are given that title because they're just so damn good. Because art is subjective, how we measure the greatness of a film is different for each person and some are allowed to just be okay or simply entertaining. I truly believe you get the most from art when you have an objective eye and go into a film with the intention of understanding its purpose, letting its unique story shine for what it is. When you have such narrow and rigid qualifications for a film, you miss out on a lot of what is being showcased and I think that is happening far too often with this genre.

The word horror is defined as an intense feeling of fear, shock, or disgust—stemming from the Latin root that means shiver or tremble. A horror film essentially evokes these feelings in the audience through storytelling and visuals. An effective script involves a concept that embodies one or all of these emotions. Or on the other hand, creates a convincing story that focuses on how the characters are experiencing them. This is why I don’t believe for horror to be successful, it needs to be “scary.” I’ve had experiences where a film made me close my closet, turn the lights on, lose sleep, or have nightmares. However, there’s also been times where the impact comes from me imagining myself in the scenario of the film or empathizing with the characters. I don’t think there’s a right answer to the question of whether horror inherently needs to be scary or not; however, when it comes to labeling a film–its definition and intention of exploring anxieties should always be considered. 

JLovesCinema argues, “Horror films aren’t scary enough! I want to sleep with all the lights on in my damn crib after I’m done watching. We need to go back to the good days where there’s campy storylines and practical effects.” Similarly, Aaron Loves Horror finds himself disappointed when a film isn’t at least creepy. “Technically, I don’t believe horror films need to be scary, as the subject matter and feelings it provokes can be horrific. But I prefer them to be,” he says.  Simon James Parker also finds horror films to be more effective when they’re scary. “Good tension and jumpscares are what get the adrenaline pumping. I think if you actually feel scared when the movie is over, then it's done its job,” he says. However, RyTheHorrorGuy says, “I like a good jumpscare but I think they’re getting overplayed in a lot of modern horror films.” Ethan Keter thinks that getting into someone’s head is a method of creating fear that is more terrifying. He says, “I think horror is most effective when it’s psychological. I like when the film makes you think.” JewelTalks agrees with Keter, she says, “I’ll use the film Grave Encounters–it has jumpscares but to me the most terrifying part is that the characters can’t leave the hospital. They walk the hallways but never find an exit.” 

TheFilmchologist doesn’t need tropes, deaths, and jumpscares for horror to be effective. He says, “I actually prefer when a film manages to explore the genre as it shows up in daily occurrences and experiences.” Meagan of TeaAndPopcornPod shares that it’s a pet peeve of hers when people say that a horror film is bad or doesn’t belong in the genre because it’s not scary. “Scare shouldn’t be a determining factor of whether a horror film is good or not. I think the genre acts as a tool to discuss scary topics and anxieties of real life horror,” she says. Intention is a significant element of ScarePair’s view on horror as a genre. He says, “Some things might not be scary to you, but if the film is trying to be scary, disturb you, or creep you out–I’d say it's horror.” On the subject of determining factors, Chelsea Murphy says, “Horror doesn’t have to be overtly scary. I think that’s the problem nowadays and why so many films go unappreciated.” Damon Martin of Rewind of the Living Dead Podcast acknowledges the significance of scare as a component of the horror genre; however, argues that nothing is more important than the overall quality of the film. He says, “I like being scared by horror, but I’m a film fan first and foremost. If the film isn’t good, no amount of scares can save it.” 

When asked about whether horror films need to be scary, Mean Joe Grizzly shares a similar perspective to mine. He says, “It’s about putting yourself in the character’s shoes, actually engaging with the concept of the film, and somewhat living it from your seat. I have a very, very vivid imagination. That has definitely assisted me in enjoying my movie going experience.” Speaking on the movie going experience, The Reel For Real Podcast says, “I think people are going in with a narrow definition of what horror is supposed to be. Horror is bigger than fear responses, sometimes it’s about uneasiness or discomfort.” 

I think Fright Fare beautifully captures how the subjectivity of what scares us in a horror film can be examined when reflecting upon reality. “Truthfully, the world we’re living in right is terrifying day in and day out. Horror is a genre that reaffirms the importance of resilience, of refusing to give into fear, paranoia or grief, of finding your people and toppling evil - or alone when there’s no other choice.”

Like anything with a timeline of existence, we can say that the earliest forms have influenced the later ones. Trick films, German expressionism, gothic, and supernatural are discussed as some of the starting point sub-genres of horror. As of now, the genre recognizes a wide variety of categories: creature features, psychological, sci-fi, religious, folk, and slashers etc. Many of the films we know and love combine sub-genres, making them difficult to put in a box with a label. However, they make for unique projects that explore unexpected settings and anxieties. Horror comedies; for example, play with tone in a way that makes light of things that go bump in the night. I enjoy films that lean into one particular sub-genre, as well as those that mix them like one of my all-time favorites–A Nightmare on Elm Street.

Mikey P. Jr. also expresses enjoyment of both sides of the spectrum, when asked how he feels about multi-genre horror. “I love when a film steps out of its comfort zone and when filmmakers think outside the box. However, I also love when they stick to their tropes,” he says. Domochoa believes horror should keep expanding and finding new ways to make people uncomfortable. He says, “I don’t think horror has to follow rules, because tradition always changes and evolves–the genre will be no different. I’ve noticed more films that are emotionally tense with a slower pace.” However, Terrorble Reviews doesn’t even think there is a tradition necessarily. “Horror is an abstract concept. I think if you try to put it into one box, you really lose the essence of it all,” he says. TheFilmDoc believes the genre is extremely cyclical and that with Blumhouse being a dominating force, it reminds him of the late 90s and early 2000s. He says, “It was more conservative and people-pleasing. Movies in the 80s were more gratuitous with blood and nudity. In the early 2000s, if you wanted something more challenging or cerebral, you’d watch French cinema. I feel like with Blumhouse, even when we get an R-rated film–it’s still generally inoffensive and lacking any risk.” On the other hand, Audrie Nightmare views modern horror as feral, with elevated themes of grief and genre-bending chaos. “It’s smarter, meaner, and way more emotionally invasive,” she says. Grimm of Horror suggests its tradition that gives horror its power, while innovation and creativity give the genre new direction. “Some themes and concepts in modern horror correlate to changes in the human experience; for example, the use of social media, creation of digital surveillance, social and financial pressure, as well as ecological dangers,” he says. Chris Short of Short Scares loves genre mash ups and is glad that many modern horror films have gone in that direction. “It makes them less predictable and allows for more unique films,” he says. Troy D. Riyan also considers himself an advocate for artistic exploration. “I think it’s cool when filmmakers find horror in places no one would think of,” he says. 

Regardless of any dissension that existed within horror film discourse, I think 2025 was a great year for horror. Filmmakers tackled unique concepts and serious themes of inner turmoil. They took risks by focusing on the perspectives of non-typical characters (Presence and Good Boy), combined genres (Marshmallow and Companion), emphasized the power of metaphors (Sinners and Weapons), and shocked audiences with gory visuals (Bring Her Back and Traumatika) etc. As someone who has loved horror since a child, I am excited about the evolution of the genre and think this year will bring more innovation. I hope that the way we speak about film will also evolve, allowing more people to treat horror as expansive and capable as other genres.

Images Used from IMDB.com to create the collage, as well as the poster.