PriyankaActor Brian Cox has fiercely criticized the state of the film industry, declaring, “I think cinema is in a very bad way.” The celebrated ‘Succession’ actor, who also appeared in ‘X2: X-Men United,’ has pointed to the Marvel Cinematic Universe as a primary culprit in the decline of traditional cinema. Cox specifically mentioned the new Marvel film ‘Deadpool & Wolverine’ as an example of what he sees as the industry’s misguided priorities.
In a stark contrast to the mass-market appeal of superhero blockbusters, Jennifer Kent’s horror masterpiece “The Babadook” is making an extraordinary return to theaters. When it premiered a decade ago, it was shown in just two cinemas. This month, however, it will be screened in 500 theaters across the nation.
“It’s strange, but in a wonderful way. I can’t quite believe it’s been 10 years already. But it’s fantastic to go back and be a part of it,” Kent expressed from her home in Australia. “Considering that it only released on such a small number of screens initially, I feel proud that it’s still enduring.”
“The Babadook,” a haunting exploration of parenthood that ushered in a new era of daring horror films, is just one of many movies celebrating an anniversary re-release this year. A quick glance at any movie theater marquee will reveal not only new titles but also a sprinkling of older films enjoying renewed interest.
Despite the convenience of streaming services offering nearly everything at home with a few clicks, there is an undeniable surge in the popularity of watching classic films on the big screen. Repertory cinema, once confined to arthouses, has now found its way into multiplexes.
Recent box office numbers for re-released films are nothing short of impressive. In just two weeks, Henry Selick’s beloved 2009 stop-motion film “Coraline” grossed over $25 million—an astonishing feat for a 15-year-old movie. Earlier this year, Disney’s re-release of “Star Wars: Episode One – The Phantom Menace” earned $19.4 million globally.
This fall promises even more anniversary releases, including “Shaun of the Dead,” “Paris, Texas,” “Whiplash,” “Hoop Dreams,” and “Interstellar,” among others. While it’s not uncommon for restored classics to return to theaters—movies like “Seven Samurai” and “The Conversation” have made summer appearances—it’s noteworthy that relatively recent films are also receiving wide re-releases, attracting packed theaters.
“The Babadook,” originally an indie film that achieved cult status through widespread critical acclaim—even lauded by William Friedkin as an instant classic—stands poised to surpass its original $1 million box office earnings from a decade ago in North America.
“It has grown a new fan base,” says Nicole Weis, vice president of distribution for IFC. “The majority of the fans didn’t see it theatrically. This strategy of bringing it back was so people could see a film they’ve fallen in love with as they should, on the big screen.”
Theatrical attendance hasn’t fully rebounded to pre-pandemic levels, partly due to a reduced number of new film releases. The calendar has been significantly altered by last year’s prolonged industry work stoppages.
To fill this gap, the nation’s three largest theater chains—AMC, Regal, and Cinemark—created Fathom Events in 2005. This initiative distributes live broadcasts of the Metropolitan Opera and special events like the annual Studio Ghibli Fest, which showcases classics from the Japanese anime studio. Their re-release of “Coraline,” including 3D screenings, set new records for Fathom.
“The interest in classic movies has really gone up,” notes Ray Nutt, CEO of Fathom. “This year we’ll see a 75% increase year over year in this category.”
Initially, Fathom focused on filling cinemas during quiet days like Mondays and Tuesdays but has since expanded. Earlier this year, one of their biggest hits was a weekend run of the “Lord of the Rings” trilogy. Upcoming classics include anniversary showings of “Rear Window,” “Blazing Saddles,” “Mean Girls,” and “The Fifth Element.”
“We joke around here a lot about what defines a classic movie,” Nutt adds. “It used to be something like 50 years or whatever, and now we’re talking about ‘Coraline’ at 15.”
While some streaming services tend to bury older films from their home pages, in the vast digital landscape how new a movie is can sometimes be less relevant. For instance, both “Titanic” and “The Equalizer” have recently appeared on Netflix’s most-watched lists. The choice between watching “Jaws” on your couch while flipping through your phone or experiencing it on a big screen with an engaged audience becomes increasingly significant.
Mark Anastasio, program director of the Coolidge Corner Theatre in Brookline, Massachusetts, noticed the enduring appeal of older films as his six-screen nonprofit cinema reopened post-pandemic. At that time, there were very few new releases to show.
“But the interest in repertory never went away,” says Anastasio. “We’ve got six screens here. It used to be that once or twice a week we’d run an older film at 7 p.m. And we’ve now increased our repertory offerings so that we’re showing an older movie every single night of the week, including Saturday and Sunday nights. And the demand is there.”
This shift has allowed Anastasio to program more creatively, diving deeper into filmmakers’ catalogs with consistently high audience turnout. Recently, Spike Lee’s “Inside Man” in 35mm and William Friedkin’s 1977 thriller “Sorcerer” drew packed houses. Upcoming plans at Coolidge include three weeks of 70mm screenings featuring films like “Lawrence of Arabia” and “Inception,” along with a series titled “Schlock and Awe” showcasing William Castle films complete with their original gimmicks like buzzing seats during “The Tingler.”
Such programming isn’t new for urban arthouses but is expanding into more mainstream venues. Increasingly, older films are being shown on screens typically reserved for first-run movies—a trend born partly out of necessity.
“There’s about 20-30% fewer films being majorly distributed now than there were just five years ago,” says Jeremy Boviard, general manager of the four-screen Moviehouse in Millerton, New York. “There are definitely more gaps in certain programming weekends.”
In this evolving landscape where new releases are fewer and older films are enjoying a renaissance on the big screen, one thing is clear: audiences still cherish the communal experience of cinema, be it through contemporary blockbusters or timeless classics.
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