PriyankaNEW YORK — When Jennifer Kent’s psychological horror film “The Babadook” first hit theaters a decade ago, it had a modest debut, screening in just two cinemas. Fast forward to this month, and the film is making a triumphant return, now being shown in 500 theaters across the nation.
“It’s surreal yet exhilarating,” Kent comments from her home in Australia. “I can hardly believe it’s been 10 years. It’s amazing to revisit this film and see it still captivating audiences. Given its initial limited release, I’m proud that it continues to endure.”
“The Babadook,” which explores the haunting aspects of parenthood and has been hailed as a pioneering work in modern horror cinema, is one of many films enjoying anniversary screenings this year. A glance at almost any theater marquee reveals not just new releases but also a selection of older classics.
In an age where nearly every film can be streamed at home with a few clicks, there’s an unexpected resurgence in the popularity of older movies on the big screen. Repertory cinema, once confined to arthouses, is now making its way into mainstream multiplexes.
And the box office numbers are impressive. For instance, in just two weeks, the beloved 2009 stop-motion film “Coraline,” directed by Henry Selick and produced by Laika Studios, has grossed over $25 million—a remarkable 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, audiences can look forward to anniversary showings of films like “Shaun of the Dead,” “Paris, Texas,” “Whiplash,” “Hoop Dreams,” and “Interstellar.” While it’s common for restored classics like “Seven Samurai” and “The Conversation” to return to theaters, what’s new is the wide re-releases of relatively recent films that are drawing large crowds.
“The Babadook,” which gained cult status thanks to widespread acclaim—even being praised by legendary director William Friedkin as an instant classic—might surpass its original North American gross of $1 million.
“It’s found a new fan base,” says Nicole Weis, vice president of distribution for IFC. “Most fans didn’t experience it in theaters initially. This re-release allows them to see it as it was meant to be seen—on the big screen.”
Although theater attendance hasn’t fully rebounded to pre-pandemic levels, part of the reason is the reduced number of films being released. Various factors, including last year’s extended work stoppages, have significantly altered the movie release calendar.
To help fill this gap, the nation’s three largest theater chains—AMC, Regal, and Cinemark—formed Fathom Events in 2005. Fathom distributes live broadcasts of the Metropolitan Opera and special events like the annual Studio Ghibli Fest, which showcases classics from the renowned Japanese anime studio. Fathom’s release of “Coraline,” including 3D screenings, set a new record for the company.
“Interest in classic films has surged,” says Ray Nutt, Fathom’s CEO. “This year, we’ll see a 75% year-over-year increase in this category.”
Initially, Fathom targeted quieter days in cinemas, like Mondays and Tuesdays. But their offerings have steadily 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 often joke about what defines a classic movie,” Nutt says. “It used to mean something from 50 years ago, but now we’re talking about ‘Coraline’ at just 15 years old.”
While some streaming services might bury older films deep within their libraries, the appeal of how we consume these films is changing. The difference between watching at home and going to a theater is less about newness and more about the experience. Would you rather watch “Jaws” at home while distracted by your phone or on a big screen with an audience collectively on edge?
Mark Anastasio, program director at Coolidge Corner Theatre in Brookline, Massachusetts, noticed this trend when his six-screen nonprofit cinema reopened after pandemic closures. At that time, there were few new releases available.
“But interest in repertory films never waned,” Anastasio says. “We used to show an older film once or twice a week at 7 p.m., but now we screen them every night, including weekends. And demand is strong.”
Anastasio has found that he can now delve deeper into filmmakers’ catalogs with creative programming that continues to draw crowds. Recently, he had a full house for Spike Lee’s “Inside Man” in 35mm and saw success with William Friedkin’s 1977 thriller “Sorcerer.” Upcoming plans include three weeks of 70mm screenings featuring films like “Lawrence of Arabia” and “Inception,” as well as a “Schlock and Awe” series showcasing William Castle films with their original gimmicks, such as buzzing seats during “The Tingler.”
This kind of programming isn’t new for urban arthouses but is increasingly expanding into more mainstream theaters. With about 20-30% fewer films being widely distributed than just five years ago, theaters are finding creative ways to fill their schedules.
“There are definitely more gaps in programming weekends,” says Jeremy Boviard, general manager of the four-screen Moviehouse in Millerton, New York.
In conclusion, older films are enjoying renewed popularity on the big screen, driven by both audience demand and industry necessity. This trend underscores the timeless appeal of cinema classics and the unique experience that theaters offer.
