The five biggest concerns facing US cinema exhibitors today

What 246 cinema professionals think about the state of theatrical exhibition, what's going wrong, and who's to blame.

In April 2020, I collaborated with Screendollars to conduct interviews with nearly 300 cinema owners and film professionals affiliated with exhibitors. It was the early days of the COVID-19 pandemic, and all talk centred on how the industry should respond and what its chances of survival were.

Five years and (at least) one pandemic later, we have returned to the same crowd to take their temperature and gauge their mood.

We interviewed 246 professionals who work in or supply content directly to the exhibition sector in the US. We quizzed them on a range of topics, and their answers were very revealing.

We’re going to share our findings over four articles:

1. How they feel - Today’s piece sets the tone, looking at the issues which are at the forefront of the minds of those at the front line of cinema exhibition

2. What they predict - Article two will reveal what professionals think about the future viability of theatrical exhibition.

3. What they’ve learned - Article three will address the next generation of cinema audiences, and how the industry may change in the coming decades.

4. What they want - And the final piece will examine what the exhibition sector is demanding of studios and filmmakers.

In today’s piece, I’ve summed up the key concerns exhibitors have, and found some choice quotes so you can hear it in their own words.

Times are tough

From the outside, one might assume that cinema operators would be in good spirits. A Cinema United (formerly National Association of Theatre Owners) survey in December 2024 revealed that 85% of moviegoers planned to attend movies as often or more often in 2025 than they did in 2024.

And while the US box office has not yet fully rebounded to pre-pandemic levels (peaking at $12 billion in 2018), it has made significant progress ($8.6 billion in 2024).

But the first thing which becomes apparent when you listen to exhibitors is that times are tough. The pandemic hit hard, and the recovery hasn’t offered much clarity or comfort.

One exhibitor spells out the challenge:

It is becoming increasingly difficult to maintain an exhibition business. Most cinemas in my area here in Los Angeles are being advised to pursue a non-profit independent route to survive.

The five most commonly cited complaints from our respondents were:

1. Broken release windows.

2. Content fatigue.

3. The cost of going out.

4. Distribution that doesn’t flex.

5. Disconnect with the audience.

1. Broken release windows

One of the most common complaints was about the shortening of release windows and the increased frequency of ‘day-and-date’ releases.

Streaming is killing theatres. Making a movie and having it stream a month later is just training the audience to wait and get it for ‘free’.

Some point out that release windows are more than just about controlling when people can watch movies. It’s also about ensuring that movies are appreciated as quality experiences worthy of respect.

Theatres are a unique experience and are being killed by streaming and direct access. Single-screen theatres are especially hurting with studio limitations on showings. Going to the movies is an experience that should be protected by giving theatres an exclusive window to encourage patrons to see it on the big screen.

Windows is the single most important thing that is hurting the industry. The studios that hurry film to TVs are slowly eating away at the entire ecosystem.

And the mixed messages that the window change has created:

Bring back the 45-day exclusive window. There is too much confusion with the general public.

Note: this mirrors Cinema United’s recent call for a 45-day minimum window for theatrical.

2. Content fatigue

Another persistent comment centres on what’s on-screen. Too many sequels, too many reboots, not enough variety, not enough creative risks. The same types of films are being made over and over, with very little room for anything new or surprising.

I’m going to dive deeper into this topic in a future article, but for now, here is a flavour of what was said:

We need more original ideas and fewer remakes.

Many implied that this was coming on behalf of their patrons rather than just their own tastes.

Guests want more stories from independent filmmakers that include good marketing, so they are aware of releases. Too much emphasis is placed on major blockbusters.

In addition to the need for better movies, there was a call for a variety of content.

There is a diverse buffet of films for movie theatres being made by filmmakers. The real problem lies in distribution by the studios. They need to distribute films on a 52 week calendar.

Another asked the distributors to:

Release more mid-range films theatrically, as the market cannot survive with just one blockbuster every month. More family product is also needed, again between the larger family releases.

On that note, various types of content were cited as being undersupplied, including:

There seems to be a shortage of romantic comedies. People still want to escape to movies to have a laugh and a good time with relatable experiences.

And:

There is a dearth of comedies that would appeal to either a broad audience or underrepresented audiences.

Several professionals highlight the opportunity to draw in audiences through alternative programming. Ideas include live concerts, sporting events, interactive screenings, and frequent re-releases of classic films or audience favourites. One contributor urges the industry to:

Bring in more alternative content, including live championship sporting events. Markets in college towns should be capable of showing college sporting events such as football and basketball.

3. The cost of going out

Exhibition professionals are the first to admit that the rising cost of going to the cinema is deterring people. Tickets are higher than many audiences can justify. Add in snacks, parking, and the rest, and what used to be a casual outing now feels like a luxury.