Revival of the Classics: ‘The Babadook’ Returns, Joining Cinema Re-Release Boom

A decade ago, when Jennifer Kent’s “The Babadook” premiered, it graced just two cinemas. Next month, this chilling masterpiece returns to theaters with a significant upgrade—500 screens.

Kent, speaking from Australia, reflects on its journey: “It’s strange but wonderful. I can’t quite believe it’s been 10 years already. But it’s fantastic to go back and be a part of it. Considering that it only released on such a small number of screens, I feel proud that it’s still enduring.”

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“The Babadook,” a haunting parable of parenthood that helped usher in a new era of bold, cinematic horror, is among a growing list of films making anniversary runs in theaters this year. Current theater marquees showcase not only new releases but also a smattering of older films.

In an age where nearly every film is accessible at home with a few clicks, it is yesterday’s movies that are seeing a resurgence on the big screen. Repertory cinema, once confined to arthouse venues, is now finding a place in multiplexes.

Ticket sales for these re-releases can be astounding. In the past two weeks, Laika Studios’ beloved 2009 stop-motion film “Coraline,” directed by Henry Selick, has grossed more than $25 million—a staggering sum for a 15-year-old movie. Earlier this year, Disney’s re-release of “Star Wars: Episode One – The Phantom Menace” made $19.4 million globally.

This fall boasts anniversary re-releases of “Shaun of the Dead,” “Paris, Texas,” “Whiplash,” “Hoop Dreams,” “Interstellar,” and more. While restored classics have long returned to theaters—films like “Seven Samurai” and “The Conversation” being recent examples—it’s a new trend for relatively recent movies to see wide re-releases, with audiences filling theaters to see them.

“The Babadook,” an indie film that quickly achieved cult status through widespread acclaim—even earning the praise of William Friedkin as an instant classic—might well exceed the $1 million it made 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, as it was intended to be—on the big screen.”

Although theatrical attendance hasn’t returned to pre-pandemic levels, this is partly due to a shortage of films available for theaters to show. Various factors have reduced the number of nationwide theatrical releases, with last year’s prolonged work stoppages significantly altering this year’s movie calendar.

To help fill such voids, the nation’s three largest theater chains—AMC, Regal, and Cinemark—formed Fathom Events in 2005. Fathom distributes a variety of events, including live broadcasts of the Metropolitan Opera and special events like the annual Studio Ghibli Fest, which showcases classics from the Japanese animation studio. Its release of “Coraline,” including 3-D screenings, set a new high mark for Fathom.

“The interest in classic movies has really gone up,” says Ray Nutt, chief executive of Fathom. “This year we’ll see a 75% increase year over year in this category.”

Fathom initially scheduled films for quieter days in cinemas, like Mondays and Tuesdays, but has since expanded. Earlier this year, one of their biggest hits was a run of the “Lord of the Rings” trilogy over a weekend. Upcoming classics include anniversary showings of “Rear Window,” “Blazing Saddles,” “Mean Girls,” and “The Fifth Element.”

“We joke around here a lot about what is the definition of a classic movie,” Nutt says. “It used to be something like 50 years or whatever, and now we’re talking about ‘Coraline’ at 15.”

Some streaming services tend to hide older films from their home pages. But in the vast digital sea of content, a movie’s age can sometimes be less relevant. (“Titanic” and “The Equalizer” both charted on Netflix’s most-watched lists this summer.) The difference between theater and home viewing is now more about the experience. Do you want to see “Jaws” on your couch while flipping through your phone, or on a big screen with an audience collectively on the edge of their seats?

Mark Anastasio, program director of the Coolidge Corner Theatre in Brookline, Massachusetts, noted the appeal of older films when the cinema reopened after the pandemic. At the time, there were few first-run films to show.

“But the interest in the 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. Now we’ve increased our repertory offerings to show an older movie every night of the week, including weekend nights. And the demand is there.”

Now, Anastasio is able to program more creatively, delving deeper into filmmaker catalogues, and crowds continue to show up. Recently, he hosted a packed screening of Spike Lee’s “Inside Man” in 35mm, and Friedkin’s 1977 thriller “Sorcerer” was also a success. The Coolidge’s upcoming plans include three weeks of 70mm screenings (“Lawrence of Arabia,” “Inception”) and a “Schlock and Awe” series of William Castle films, complete with original gimmicks like buzzing seats during “The Tingler.”

Such programming has long been a staple for urban arthouses but is now expanding. More and more, older films are finding their way onto screens typically reserved for first-run movies, sometimes 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.”

Boviard has had to be more selective about what appeals to Hudson Valley moviegoers, but some choices really resonate. Last year, that included the 40th anniversary of Jonathan Demme’s Talking Heads concert film “Stop Making Sense.” Released by A24, known for its cutting-edge contemporary films, “Stop Making Sense” made more than $5 million domestically.

The trend of re-releasing older films isn’t likely to slow down anytime soon. Studios regularly comb through their archives, patiently awaiting notable anniversaries. For Jennifer Kent, it’s a positive development in what she otherwise considers “a dark age for cinema.”

“I feel like people still crave that experience,” says Kent. “I recently saw Dreyer’s ‘Ordet’ and Bergman’s ‘The Seventh Seal.’ Especially in ‘Ordet,’ it’s such a transcendent film. The audience, we were collectively experiencing it. I could hear people crying at the end. It’s the reason we went to the cinema in the first place—to have an experience. Not to sit on our couches while looking at our phones watching some sort of content. It’s not bringing out the best in us or in the work.”

“For me,” she adds, “I take it very seriously, because I think we need it.”