Opinion: How Horror Has Changed
Horror movies have changed a lot since their debut. What was once used to tell stories about slashers, ghosts, demons and fear have now become more physiological and character driven stories. How do these new horror movies compare to the old cult classics before them?
For decades, horror movies have found new and inventive ways to frighten audiences. From cult classics like Friday the 13th, Nightmare on Elm Street, The Thing, Halloween, Scream, Child’s Play, IT and many others, these kinds of films have defined horror movies since their debut. However, as times changed, horror movies changed as well. They started to experiment more with psychological trauma, social fears, and the lasting effect of violence. The goal of horror movies still remains the same, however, the way filmmakers have gone about telling stories is always changing.
The first change to modern horror would be the reboot and first film in the latest Halloween trilogy, 2018’s Halloween. The first Halloween film debuted all the way back in 1978, the film helped popularize the slasher genre through its suspenseful atmosphere and the terrifying presence of Michael Myers. The 2018 reboot/sequel returned to that familiar format of slasher horror but paid more attention and emphasis on Laurie Strode and the lasting effects of her encounter with Michael. Rather than portray Laurie as a victim waiting for the killer to return, the film flips it around, presenting her as someone whose entire life has been changed by the events of the original movie. She lives the rest of her life in fear of when Michael will return, and if he will go after her and her family. This film shows how modern horror can preserve elements that made classic films successful while exploring the psychological consequences of survivors' guilt and the lasting effects it has on someone.
More recent horror films have taken another direction, by combining frightening stories with social commentary. Two films that come to mind are 2019’s Us and 2022’s Nope, both directed by Jordan Peele. In Us, a family encounters mysterious doubles of themselves, creating a disturbing story about inequality, identity, and the darker sides of human nature,
Nope meanwhile, follows two siblings who own a horse ranch and discover a mysterious UFO in the sky, and try to capture evidence of it. They soon find out that the UFO is alive itself. The film explores humanity’s fascination with spectacle and the desire to turn extraordinary events into entertainment, even when it becomes dangerous. Unlike more older slasher films or modern-day horror films, Nope and Us encourage audiences to look beyond the immediate threat and consider the larger ideas behind horror. Jordan Peele’s work demonstrates how modern filmmakers can use the genre to entertain audiences while also encouraging them to think about real world issues.
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A more recent horror film that came out this year perfectly captures the new modern style of horror writing. Obsession directed by Curry Barker, is another example of how horror can turn familiar human emotion into sources of fear. The film follows Bear, and after making a wish to have his friend NIkki love him back, the film follows a series of disturbing and terrifying scenes. Rather than rely on another masked killer or monster, the film builds its horror around desire, control, and the danger of trying to force another person to like you.
This approach reflects a broader tendency in modern horror to explore psychological fears and uncomfortable aspects of human behavior alongside supernatural threats. When compared to old films like Halloween, Obsession illustrates how the genre has expanded its ideas about what can frighten audiences. Although horror continues to use familiar techniques and the occasional jump scare, modern films increasingly show that fear can come from more than just a jump scare or creepy slasher. They demonstrate that fear can come from relationships, social anxieties, and the consequences of our choices.
Disclaimer: The opinions stated in this article are of the writer
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