PriyankaNEW YORK — When Jennifer Kent’s atmospheric horror film, “The Babadook,” first hit theaters a decade ago, it premiered on just two screens. Fast forward to the present, and this chilling tale of parenthood is set to return to theaters nationwide, gracing 500 screens.
“It’s surreal, yet wonderfully so. It’s hard to believe a decade has passed already. But it’s fantastic to revisit and be a part of it again,” Kent shares from Australia. “Given its limited initial release, I feel proud that it continues to resonate with audiences.”
“The Babadook,” a haunting exploration of the challenges of parenthood, signaled a new wave of daring horror films that have since captivated audiences. This film is one of many receiving anniversary screenings this year. Look at any theater marquee right now, and you’ll see not only new releases but a sprinkling of beloved classics making their way back to the big screen.
In an era where nearly everything is accessible from the comfort of home with just a few clicks, the resurgence of older films in theaters is remarkable. Repertory cinema, once confined to arthouses, now finds its place in mainstream multiplexes.
The ticket sales for these re-releases can be astonishing. For instance, the 2009 stop-motion film “Coraline,” directed by Henry Selick and produced by Laika Studios, has grossed over $25 million in just two weeks—a staggering figure for a 15-year-old movie. Earlier this year, Disney’s re-release of “Star Wars: Episode One – The Phantom Menace” amassed $19.4 million globally.
This fall will see the return of other classic films such as “Shaun of the Dead,” “Paris, Texas,” “Whiplash,” “Hoop Dreams,” and “Interstellar.” While the re-release of restored classics like “Seven Samurai” and “The Conversation” is not uncommon, the trend of relatively recent films receiving wide re-releases and drawing large audiences is a new phenomenon.
“The Babadook,” initially an independent film that gained cult status through critical acclaim—even being hailed as an instant classic by William Friedkin—may very well surpass the $1 million it made a decade ago in North America.
“It has cultivated a new fan base,” says Nicole Weis, vice president of distribution for IFC. “Most fans didn’t experience it in theaters initially. Bringing it back allows them to see it as it was meant to be seen, on the big screen.”
While theatrical attendance hasn’t rebounded to pre-pandemic levels, this is partly due to a reduced number of films being released nationwide for various reasons, including last year’s prolonged work stoppages.
To address this gap, the nation’s three largest theater chains—AMC, Regal, and Cinemark—formed Fathom Events in 2005. Fathom Events distributes live broadcasts from the Metropolitan Opera and special events like the annual Studio Ghibli Fest, which features classics from the Japanese anime studio. Its release of “Coraline,” including 3D screenings, set a new record for Fathom.
“The interest in classic movies has really increased,” says Ray Nutt, chief executive of Fathom. “This year we’ll see a 75% increase year over year in this category.”
Initially, Fathom focused on screening films during quieter days like Mondays and Tuesdays but has since expanded its offerings. One of their biggest hits earlier this year 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 often joke about what defines a classic movie,” says Nutt. “It used to be something that was 50 years old or more, but now we’re talking about ‘Coraline’ at 15.”
Some streaming services tend to obscure older films from their home pages. Yet in the vast digital landscape of content, the age of a movie can sometimes be less relevant. Movies like “Titanic” and “The Equalizer” have both appeared on Netflix’s most-watched lists this summer. The choice between watching a film at home or in theaters is increasingly about the experience. Would you prefer to watch “Jaws” on your couch while distracted by your phone or on a big screen with an audience collectively on edge?
Mark Anastasio, program director of Coolidge Corner Theatre—a six-screen nonprofit cinema in Brookline, Massachusetts—noticed the enduring appeal of older films when reopening after pandemic closures. At that time, there were few new releases available.
“But the interest in repertory films never waned,” says Anastasio. “We have six screens here. It used to be that we’d show an older film once or twice a week at 7 p.m. Now we’ve increased our repertory offerings to feature an older movie every night of the week, including weekends. And the demand is there.”
Anastasio now programs more creatively, delving deeper into filmmaker catalogs, and audiences continue to flock to these screenings. Recently, a 35mm showing of Spike Lee’s “Inside Man” drew a packed house, while William Friedkin’s 1977 thriller “Sorcerer” also saw great success. Upcoming plans at Coolidge include three weeks of 70mm screenings (“Lawrence of Arabia,” “Inception”) and a “Schlock and Awe” series featuring William Castle films complete with their original gimmicks like buzzing seats during “The Tingler.”
This kind of programming isn’t new for urban arthouses but is expanding to more mainstream venues. Increasingly, older films are being shown on screens typically reserved for new releases, partly out of necessity.
“There’s 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. “There are definitely more gaps in certain programming weekends.”
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