PriyankaNEW YORK — A decade ago, Jennifer Kent’s “The Babadook” premiered modestly, opening in just two cinemas. Fast forward to the present, and this chilling psychological thriller is set to return to theaters with a much grander scale, expanding to 500 screens nationwide.
Reflecting on this milestone from her home in Australia, Kent expresses her astonishment and joy, “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,” she says. “Considering that it only released on such a small number of screens, I feel proud that it’s still enduring.”
“The Babadook,” renowned for its haunting exploration of parenthood, marked the beginning of a new wave of daring horror films. Its anniversary run is part of a broader trend where theaters are reintroducing older films. Today’s moviegoers can find a mix of contemporary releases and beloved classics on theater marquees.
Despite the convenience of streaming services, which allow viewers to watch almost anything at home with just a few clicks, there is a notable resurgence in the popularity of older films on the big screen. This phenomenon has brought repertory cinema, traditionally the domain of arthouse theaters, into mainstream multiplexes.
Recent box office numbers reflect this trend’s impact. For example, Laika Studios’ stop-motion film “Coraline,” directed by Henry Selick and first released in 2009, has grossed over $25 million in just two weeks during its re-release. Similarly, Disney’s re-release of “Star Wars: Episode One – The Phantom Menace” garnered $19.4 million globally earlier this year.
This fall will see anniversary screenings of various acclaimed films such as “Shaun of the Dead,” “Paris, Texas,” “Whiplash,” “Hoop Dreams,” and “Interstellar.” While it’s not unusual for restored classics like “Seven Samurai” and “The Conversation” to make their way back into theaters, it is becoming increasingly common for relatively recent movies to receive wide re-releases and draw substantial audiences.
“The Babadook,” which gained cult status thanks to widespread critical acclaim— even earning praise from legendary director William Friedkin—has the potential to surpass its original North American box office earnings of $1 million.
Nicole Weis, vice president of distribution for IFC, explains the strategy behind bringing “The Babadook” back to theaters: “The majority of the fans didn’t see it theatrically. This strategy was so people could see a film they’ve fallen in love with as it was intended to be seen—on the big screen.”
The post-pandemic recovery of theatrical cinema hasn’t reached pre-pandemic levels, partly due to a shortage of new releases. Various factors have led to fewer films being shown nationwide, including last year’s extended production halts. To fill these gaps, major theater chains like AMC, Regal, and Cinemark have increasingly turned to Fathom Events. Established in 2005, Fathom Events distributes live broadcasts of performances from institutions like the Metropolitan Opera and special events such as the annual Studio Ghibli Fest.
Ray Nutt, CEO of Fathom Events, notes a significant rise in interest for classic films: “This year we’ll see a 75% increase year over year in this category.” Initially focusing on quieter days like Mondays and Tuesdays, Fathom has expanded its reach. One of its biggest hits this year was a weekend screening of the “Lord of the Rings” trilogy. Upcoming re-releases include iconic titles like “Rear Window,” “Blazing Saddles,” “Mean Girls,” and “The Fifth Element.”
Mark Anastasio, program director at Coolidge Corner Theatre in Brookline, Massachusetts, observed that older films held strong appeal even when new releases were scarce during pandemic reopenings. “The interest in the repertory never went away,” he remarks. Now, Coolidge Corner shows an older movie every night, meeting substantial demand.
Anastasio has leveraged this interest to explore deeper into filmmakers’ catalogs. Recent successful screenings include Spike Lee’s “Inside Man” and William Friedkin’s thriller “Sorcerer.” Upcoming plans feature three weeks of 70mm film screenings including “Lawrence of Arabia” and “Inception,” along with a “Schlock and Awe” series featuring William Castle’s films with original gimmicks.
The trend extends beyond urban arthouses. With about 20-30% fewer films being majorly distributed compared to five years ago, theaters like Millerton’s Moviehouse have embraced repertory programming to fill scheduling gaps. Jeremy Boviard, general manager of Moviehouse, confirms this adaptation: “There’s definitely more holes in certain programming weekends.”
In this evolving landscape, the distinction between theater and home viewing is shifting from content novelty to the overall experience. Whether it’s seeing “Jaws” on a big screen or catching up on a classic like “The Equalizer” on Netflix, audiences continue to seek out compelling cinematic experiences both old and new.
