PriyankaNEW YORK — When Jennifer Kent’s “The Babadook” first graced theaters a decade ago, it was a modest release, showing in just two cinemas. Fast forward to this month, and the film is making a grand return, hitting the screens in 500 theaters nationwide.
“It’s surreal, but in the best possible way. I can hardly believe it’s been ten years already. It’s truly wonderful to revisit this experience,” Kent shares from her home in Australia. “Given its initial limited release, I’m immensely proud that the film has stood the test of time.”
“The Babadook,” a haunting tale exploring the complexities of parenthood, marked the beginning of a new era in horror cinema, noted for its daring and innovative approach. This year, many such films are celebrating anniversaries with theater re-releases. A glance at theater marquees reveals not just the latest blockbusters but also a mix of beloved classics.
In an age where almost every film is available online with just a few clicks, it is yesterday’s movies that are drawing audiences back to the big screen in droves. Repertory cinema, which once thrived in arthouse venues, is now finding a home in mainstream multiplexes as well.
And the numbers can be astonishing. In just two weeks, the beloved 2009 stop-motion film “Coraline” by Laika Studios raked in over $25 million — an impressive 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 will witness anniversary releases of films like “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 (such as “Seven Samurai” and “The Conversation”), it’s notable that relatively recent films are also receiving wide re-releases and attracting large audiences.
“The Babadook,” which achieved cult status through widespread acclaim — even receiving high praise from legendary director William Friedkin — is likely to surpass the $1 million it made during its original North American release.
“It has cultivated a new fan base,” explains Nicole Weis, vice president of distribution for IFC. “Most of these fans never experienced it in theaters. Bringing it back allows people to see it as it was meant to be seen — on the big screen.”
While theater attendance hasn’t quite returned to pre-pandemic levels, part of the reason lies in the reduced number of films available for theatrical release. Last year’s prolonged work stoppages significantly altered this year’s movie calendar.
To address this gap, the nation’s three largest theater chains — AMC, Regal, and Cinemark — formed Fathom Events in 2005. Fathom distributes live broadcasts of events like the Metropolitan Opera and special screenings like the annual Studio Ghibli Fest. Its recent re-release of “Coraline,” including 3D screenings, set new records for Fathom.
“There’s been a significant increase in interest for classic movies,” notes Ray Nutt, CEO of Fathom. “This year, we anticipate a 75% year-over-year increase in this category.”
Initially, Fathom focused on screening films during quieter days like Mondays and Tuesdays. But their scope has expanded significantly. Earlier this year, one of their biggest successes 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 50 years old or more. Now we’re talking about ‘Coraline’ at 15.”
Some streaming services tend to obscure older films from their main pages. In a vast digital content landscape, how new a movie is can sometimes be less important. For example, both “Titanic” and “The Equalizer” have appeared on Netflix’s most-watched lists this summer. The difference between theater and home viewing is becoming more about the experience itself. Would you prefer watching “Jaws” on your couch while multitasking or on a big screen with an audience collectively holding their breath?
Mark Anastasio, program director at Coolidge Corner Theatre in Brookline, Massachusetts, observed the lasting appeal of older films when his six-screen nonprofit cinema reopened post-pandemic. With few new releases available initially, repertory films filled the void.
“But interest in older films never waned,” Anastasio remarks. “We used to screen an older film once or twice a week at 7 p.m., but now we show one every night of the week, including weekends. And there’s demand.”
Anastasio now programs more creatively, diving deeper into filmmakers’ archives — and audiences keep coming. Recently, he hosted a packed screening of 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 original gimmicks like buzzing seats during “The Tingler.”
While such programming isn’t new for urban arthouses, it’s gaining momentum across more mainstream venues. Increasingly, older films are shown on screens typically reserved for first-run movies — partly out of necessity due to fewer new releases.
“There are about 20-30% fewer films being widely distributed now than there were just five years ago,” explains Jeremy Boviard, general manager of Moviehouse in Millerton, New York. “There are definitely more gaps in programming on certain weekends.”
As theaters adapt to these changes, they continue to explore new ways to engage audiences with both new releases and timeless classics.
