PriyankaNEW YORK — When Jennifer Kent’s haunting masterpiece “The Babadook” first graced the silver screen a decade ago, it was showcased in just two cinemas. Fast forward to this month, and the film is making a triumphant return, lighting up 500 theaters nationwide.
“It’s surreal, yet wonderfully so. I can hardly fathom that it’s been 10 years already. It’s truly fantastic to revisit this journey,” Kent shares from her home in Australia. “Given its humble beginnings with such a limited release, I’m incredibly proud of its lasting impact.”
“The Babadook,” a chilling exploration of the trials of parenthood, heralded a new era of bold, boundary-pushing horror films. This year, it is one among many celebrated films enjoying anniversary runs in theaters. A glance at any movie theater marquee reveals not just fresh titles but a rich selection of beloved classics.
In an age where almost everything is accessible at home with a few clicks, it’s yesterday’s cinematic gems that are drawing crowds back to the theaters. Repertory cinema, once confined to arthouses, has now found a place in mainstream multiplexes.
Audience enthusiasm for these re-releases is palpable. Take, for instance, the 2009 stop-motion classic “Coraline” by Laika Studios, which has grossed over $25 million in just two weeks—a staggering figure for a 15-year-old film. Earlier this year, Disney’s re-release of “Star Wars: Episode One – The Phantom Menace” garnered $19.4 million globally.
This fall promises anniversary screenings of iconic films like “Shaun of the Dead,” “Paris, Texas,” “Whiplash,” “Hoop Dreams,” and “Interstellar.” While the return of restored classics to theaters is not new (with films like “Seven Samurai” and “The Conversation” making appearances this summer), the trend of recent films receiving wide re-releases and drawing substantial audiences is noteworthy.
“The Babadook,” an independent film that gained cult status through widespread acclaim—even lauded by William Friedkin as an instant classic—is poised to surpass the $1 million it earned in North America a decade ago.
“It has cultivated a new fan base,” says Nicole Weis, vice president of distribution for IFC. “Most fans never had the chance to see it in theaters. This re-release strategy allows them to experience the film as it was meant to be seen—on the big screen.”
While theatrical attendance hasn’t fully rebounded to pre-pandemic levels, this is partly due to a shortage of new releases. The number of films hitting theaters nationwide has decreased for various reasons, including last year’s extended work stoppages.
To help fill this void, AMC, Regal, and Cinemark—the nation’s three largest theater chains—formed Fathom Events in 2005. Fathom distributes live broadcasts of the Metropolitan Opera and special events like Studio Ghibli Fest, which revives classics from the renowned Japanese anime studio. Its recent release of “Coraline,” including 3D screenings, set a new record for Fathom.
“The interest in classic movies has surged,” says Ray Nutt, Fathom’s chief executive. “This year, we’ll see a 75% increase in this category year over year.”
Initially, Fathom focused on screening films on typically quiet days like Mondays and Tuesdays. However, they’ve steadily expanded their offerings. Earlier this year, one of their biggest successes was a run of the “Lord of the Rings” trilogy over a Saturday-Sunday-Monday schedule. Upcoming classics include anniversary showings of “Rear Window,” “Blazing Saddles,” “Mean Girls,” and “The Fifth Element.”
“We often joke about what defines a classic movie,” says Nutt. “It used to mean something like 50 years old, but now we’re celebrating ‘Coraline’ at 15.”
Some streaming services tend to obscure older films on their home pages. Yet in today’s vast digital content landscape, the age of a movie can sometimes be less relevant. Films like “Titanic” and “The Equalizer” have both appeared on Netflix’s most-watched lists this summer. The distinction between theater and home viewing is increasingly about the experience rather than novelty. Would you prefer watching “Jaws” on your couch while browsing your phone or on a massive screen with an audience collectively on the edge of their seats?
Mark Anastasio, program director at Coolidge Corner Theatre—a six-screen nonprofit cinema in Brookline, Massachusetts—noticed a sustained interest in older films when they reopened post-pandemic. At that time, new releases were scarce.
“But the appetite for repertory never waned,” Anastasio notes. “We have six screens here. Previously, we might show an older film once or twice a week at 7 p.m. Now, we’ve increased our repertory offerings to show an older movie every single night of the week, including weekends. And the demand remains strong.”
Anastasio has found he can program more creatively, delving deeper into filmmakers’ catalogs—and audiences continue to show up. Recently, he had a packed house for Spike Lee’s “Inside Man” in 35mm and saw success with William Friedkin’s 1977 thriller “Sorcerer.” Upcoming plans at Coolidge include three weeks of 70mm screenings (“Lawrence of Arabia,” “Inception”) and a “Schlock and Awe” series featuring William Castle films with their original gimmicks, like buzzing seats during “The Tingler.”
While such programming is not new for urban arthouses, it’s expanding. Increasingly, older films are being screened on prime slots usually reserved for new releases. This shift is partly out of necessity.
“There are about 20-30% fewer films being widely distributed now compared to just five years ago,” says Jeremy Boviard, general manager of the four-screen Moviehouse in Millerton, New York. “This has created more gaps in our programming schedule.”
Despite these challenges, the resurgence of classic films in theaters highlights an enduring appreciation for cinematic history and the unique communal experience that only theaters can provide.
