Think of this in regards to exhibition curating, innovative implementations versus the standard museum faire:

The [horror] genre encourages visual experimentation. From ‘The Cabinet of Dr. Caligari’ (1919) onward, horror has been a cue for unexpected camera angles, hallucinatory architecture and frankly artificial sets. As mainstream movies have grown steadily more un-imaginative and realistic in their visuals, horror has provided a lifeline back to the greater design of freedom of the silent era.

In the Chicago Sun Times talking about Last House on the Left (1972) and its marketing campaign:

I’ve got to admit that I did not expect much after its advertising campaign (“Keep repeating-It’s only a movie, it’s only a movie…”). But you know something weird? At one point I actually did find myself repeating that…A tough, bitter little sleeper of a movie that’s about four times as good as you’d expect…sheer and unexpected terror…a powerful narrative…the audience was rocked back on its psychic heels…It’s a find, one of those rare, unheralded movies. (from: ‘Shocking Representation’)