 Mathijs and Sexton state that genre is an important part of cult films ; cult films will often mix , mock , or exaggerate the tropes associated with traditional genres . Science fiction , fantasy , and horror are known for their large and dedicated cult followings ; as science fiction films become more popular , fans emphasize non @-@ mainstream and less commercial aspects of it . B films , which are often conflated with exploitation , are as important to cult films as exploitation . Teodor Reljic of Malta Today states that cult B films are a realistic goal for Malta 's burgeoning film industry . Genre films , B films that strictly adhere to genre limitations , can appeal to cult film fans : given their transgressive excesses , horror films are likely to become to cult films ; films like Galaxy Quest ( 1999 ) highlight the importance of cult followings and fandom to science fiction ; and authentic martial arts skills in Hong Kong action films can drive them to become cult favorites . Cult musicals can range from the traditional , such as Singin ' in the Rain ( 1952 ) , which appeal to cult audiences through nostalgia , camp , and spectacle , to the more non @-@ traditional , such as Cry @-@ Baby ( 1990 ) , which parodies musicals , and Rocky Horror , which uses a rock soundtrack . Romantic fairy tale The Princess Bride ( 1987 ) failed to attract audiences in its original release , as the studio did not know how to market it . The freedom and excitement associated with cars can be an important part of drawing cult film fans to genre films , and they can signify action and danger with more ambiguity than a gun . Ad Week writes that cult B films , when released on home video , market themselves and need only enough advertising to raise curiosity or nostalgia . 
