This year’s Oscars telecast introduced a completely new way to watch movies.
Known as “CinemaStreams,” it offers patrons a unique experience of watching movies in a structure specifically designed for movie streaming. Rather than viewing content on a single device, you can experience it on an array of 800 interconnected devices.
You don’t even have to hold it, the ad promises, the building holds it.
Among this year’s Academy Awards comedy skits, this was my top pick. Interestingly enough, it seemed as if it belonged in an old episode of Late Night With Conan O’Brien, had streaming services been around 25 years ago. However, the fact that the Oscars, with a history dating back to the silent movie era, featured a parody ad poking fun at modern audiences’ lack of understanding of the big-screen experience suggests how tough times have become for cinemas.
In 2024, domestic movie theaters reported earnings of $8.6 billion, which was less than the previous year’s $8.95 billion. Although this was an improvement compared to the early years of the pandemic, it still fell significantly short of the industry’s typical annual earnings during the 2010s. In fact, the figures from 2024 were last seen in 2001. It’s no surprise that many articles online are asking if the end of movie theaters is near.
It’s still too soon for me to pen my tribute to movie theaters, as it were. Just yesterday, Conan O’Brien humorously touched upon CinemaStreams, but mere hours before that, I experienced a profound reminder of the enchantment that only movie theaters can provide. Thus, I stand firm in my belief that a physical space designed for cinematic viewing remains the most captivating way to enjoy films.
Over the two days preceding the Oscars, I attended Filmspotting Fest, a festival celebrating the 20th anniversary of one of the earliest and longest-running movie podcasts, Filmspotting. In recognition of their remarkable 1000th episode, the podcast, hosted by Adam Kempenaar, Josh Larsen, and Sam Van Hallgren, played some of their favorite films from the past two decades in Chicago. Notably, these screenings featured special guests who are filmmakers and critics. Among them was me, as I used to co-host a spinoff podcast of Filmspotting called Filmspotting: SVU, which focused on the world of streaming video.
At Filmspotting Fest, my responsibilities included joining a post-screening discussion following Jeff Nichols’ movie “Take Shelter.” This film delves into the character of Curtis, portrayed by Michael Shannon, who undergoes disturbing dreams and what could be prophetic hallucinations. As these visions intensify, Curtis becomes increasingly concerned about the future of the world, either due to an impending natural disaster or because he suspects he might be losing his sanity and facing institutionalization, much like his mother did when he was young.
Initially, when “Take Shelter” premiered in 2011, I felt it was the most compelling movie about managing anxiety that I had ever encountered, and I named it my top pick for that year. However, its intensity and emotional power make it a film I don’t rewatch frequently. (So, after a tiresome work week, you might think, “What movie should I watch to unwind? How about the one about a man grappling with mental deterioration triggered by apocalyptic storm visions?”) Before last month, I had not viewed “Take Shelter” for at least ten years.
Similar to the character in Shannon’s “Take Shelter”, I prefer being well-prepared. This tendency is often found among anxious individuals. Before attending the festival, I decided to rewatch “Take Shelter” at home on my television. Later, during its busy screening at the Gene Siskel Film Center during Filmspotting Fest, I watched it again. Unintentionally, this turned into an exploration of how a movie theater can influence a viewer’s experience. Remarkably, although the movie remained unchanged, the venue where I watched it produced two distinct reactions.
At home, watching Take Shelter was more of a mental exploration. I pondered over the acting, the script, and how director Nichols skillfully employed symbolism – such as portraying Curtis as a construction worker who realizes that constructing walls won’t solve his personal issues. At the Gene Siskel Film Center, however, Take Shelter had a much more physical impact on me. It wasn’t necessarily the screen size that struck me, but rather the volume of sound. My home speakers can’t match those in a great theater like the Film Center, which amplified the tumultuous sounds from Curtis’ dream storms to such an extent that you could almost feel the force of the wind and the thunder vibrating through your body. It was nearly overpowering – just as it was for Curtis. The way Nichols immerses you in the character’s troubled perspective is truly remarkable, but this effect only occurs in a theater setting.
At Filmspotting Fest, I personally experienced one instance of movie theaters’ impact, but there were many more. Prior to the festival, I had only seen Kogonada’s film “Columbus” once via a press screener. While I enjoyed it, it didn’t make a significant impact when watched at home. A few weeks ago, if you had asked me to discuss “Columbus,” I could have mentioned its director and the names of its two main characters, but my description of the plot would have been quite vague.
In the theater, the movie titled Columbus felt like it was an entirely new production. It’s a story focusing on two characters, Jin (played by John Cho) and Casey (Haley Lu Richardson), who are both lost souls searching for their paths in life. After arriving in Columbus to care for his ailing father who had collapsed and slipped into a coma shortly after giving a lecture about the city’s architectural wonders, Jin crosses paths with Casey, a library worker who possesses a passion for architecture despite not having pursued higher education. While waiting for news regarding his father, Jin forms an unexpected friendship with Casey, who is also looking after her drug-addicted mother at home.
For modernism aficionados, Columbus is akin to Before Sunrise. Just as Ethan Hawke and Julie Delpy’s conversations unfold amidst Vienna’s iconic structures, Jin and Casey’s dialogues transpire against the cityscape graced by the Miller House and North Christian Church – architectural masterpieces designed by Eero Saarinen. In a home setting, these buildings may appear minuscule and distant. However, viewing Columbus in a theater offers an opportunity to scrutinize and analyze these structures alongside Jin and Casey. On the silver screen, they seem imposing, casting their shadows over you just as they do the characters. Watching it on a smaller screen may diminish the impact, although it doesn’t entirely negate the experience.
Following Columbus and amidst all the film festival screenings, I had a sequence of engaging talks with fellow attendees. Topics ranged from the unexpected humor in Rian Johnson’s neo-noir movie Brick, the daring iPhone cinematography used in Sean Baker’s Tangerine, to the recognition some of us found in Take Shelter’s tormented protagonist. These discussions are quite different from those I usually have at home after watching a film with my dog. Despite my efforts to engage her, she rarely reacts when I ask for her thoughts on things.
To be honest, those who graced Filmspotting Fest were far from your average weekend moviegoers at a multiplex. Instead, they were passionate film enthusiasts, some even traveling from across the nation just to witness films that they could easily stream or rent, but craved the unique experience of watching them in a dimly lit theater surrounded by fellow film aficionados, followed by insightful discussions with podcasters and directors post-screening. There was no flash of cameras or intrusive phone calls disrupting the tranquil silence during “Pather Panchali.
It’s possible to contend that this gathering doesn’t accurately reflect the current moviegoers (or those who typically avoid going to the movies) and you might well be correct. Nevertheless, it was clear at this event that there is an audience out there, and they are eager for a connection with films and fellow film enthusiasts. If you foster this audience, they will come, even for movies that are old and easily accessible at home. When they do come, they will appreciate films as they were intended to be experienced.
The CinemaStreams ad during the Oscars demonstrates our innovation for effortlessly enjoying films. However, we’re still working on surpassing the traditional way of 800 synchronized smartphones assembled into a large, dark-room display. If you haven’t given it another look recently, perhaps it’s time to reconsider.
Every Movie Theater Candy, Ranked From Worst to Best
27. Sno-Caps
As a devoted cinephile, let me share my personal opinion: I strongly advise against consuming Sno-Caps. In fact, they’re downright unpleasant to eat, so it’s best if you steer clear of them altogether. For more details on why I feel this way, check out the article we’ve written on the subject!
26. Red Vines
25. Mike and Ike
At the movie theater’s snack bar, there is a variety of candy shaped like fruits, and from my perspective, Mike and Ike is the least appealing among them. To be honest, I’ve never tasted one that seemed freshly made. No matter how they redesign the packaging, the small pieces inside still have a flavor as if they’ve been stored in an old vending machine at a bowling alley for a quarter of a century.
24. MIlk Duds
Milk Duds aren’t terrible, but they sure are excessive. They tend to stick between your teeth and block your mouth, making you feel like you have a small blockade there. When you purchase Milk Duds, you’re essentially agreeing to spend $8 on a drink as well, because it’s highly improbable to consume an entire box of Milk Duds without any liquid. It’s not just unlikely; it’s practically impossible according to the laws of physics. Your throat would probably react adversely.
23. Jujyfruits
In my opinion, I’ve tasted other, top-notch fruit candies that really outshine the ones mentioned. Unfortunately, they were the very same sweets that seemed to cause a rift in Elaine’s relationship and ultimately led to her losing her job in an episode of Seinfeld.
22. Whoppers
21. Gummy Bears
As a supporter, I’d rephrase it like this:
Large bags of concessions are fantastic for some treats, but not all. For instance, gummy bears are delightful in moderation, but have you ever polished off an entire bag? It’s simply too much sweetness from those gummy bears at once!
20. Cookie Dough Bites
The selling of cookie dough is one of the most deceptive schemes in American history. They managed to persuade people into purchasing raw dough! Can you imagine selling uncooked pasta or vegetables next? Absolutely not!
19. Welch’s Fruit Snacks
An alternative to Gummy Bears, offering a wider range of authentic fruit flavors. They proudly claim “Fruit is our first ingredient!”, giving the impression that they might be a healthier snack choice.
18. Reese’s Pieces
Although Reese’s Pieces are famous for their role in the movie “E.T.”, they aren’t as strong compared to other Reese’s products like the cups or Crispy Crunchy Bars. If they offered Reese’s Cups or those tasty Crispy Crunchy Bars instead, it would make a more appealing choice.
17. Lemonheads
Truly impressive and often overlooked, but their name is a bit of a letdown. It seems reminiscent of an informal term for an unfortunate bodily area. A different moniker could potentially boost them several ranks higher in the list.
16. Good & Plenty
It’s clear that licorice is a highly debated candy, with some people adoring it and others finding it unpalatable. Personally, I fall into the former category and have a soft spot for Good & Plenty candies at the movies. The concession stand version of these treats is quite large, and due to their potent licorice flavor, consuming an entire bag takes some time; often, you’ll still be munching on them during the trailers. And as an added bonus: They are fat-free!
15. Raisinets
While they’re okay, let’s be real – they’re nearly like fruit. After all, who wants to opt for healthier choices in a movie theater? That’s exactly why we go to the movies: it’s a spot where you can indulge in junk food without being seen or judged in the darkness.
They’re decent enough, but let’s face it – they’re almost like fruit. In a movie theater, who wants to choose the healthy option? That’s why we go to the movies: it’s a place where you can enjoy unhealthy snacks without anyone watching or criticizing in the dim light.
14. Swedish Fish
Tasty, though admittedly quite monotonous, given its Swedish origin. Over time, the consistent taste in each bite can become repetitive and tiresome. A candy with a similar texture but offering more flavor variety would rank higher on our list.
13. Hot Tamales
Here’s another treat that this writer finds appealing, either loved or disliked by many. They possess a delightful, crisp consistency and offer a refreshing change from numerous other sweets which are overloaded with sugar to such an extent that consuming them leaves you craving for a drink immediately.
12. Sweetart Ropes
In a recent expansion of the cinematic snack realm, I’ve come across a fresh entrant that has pleasantly surprised me. These candies don’t remind me of the chalky SweeTarts I used to know, which were previously marketed under a different name. Perhaps the pressures of branding have even reached the concession stand. Regardless of their label, it’s quite simple to polish off an entire bag.
11. Butterfinger Bites
10. Dots
9. Skittles
This is a timeless item, and the one you purchase at the cinema for approximately $12 tends to last throughout most of the film. It would rank higher on our list if they hadn’t swapped the lime Skittle with green apple a few years back, which essentially makes Skittles obsolete for me.
8. Buncha Crunch
Many small-sized chocolate bars are low-quality products, typically given to children during Halloween. However, Buncha Crunch might be the exception, as its miniature version is often considered better than the standard bar. What’s the point of eating a Crunch bar when you can enjoy a heap of Crunchies instead? There simply is no comparison.
7. M&Ms
As a dedicated cinephile, I’ve always cherished the timeless appeal of classic cinema. Every flavor of popcorn is enjoyable, save for those peculiar cherry ones that seem to have wandered in from another world. However, it’s high time someone came up with an innovative solution: A theater popcorn dispenser akin to the Coca-Cola Freestyle soda fountains, where we could design our own custom bags! Imagine the delight of blending traditional plain kernels with a dash of mint or a hint of pretzel – now that’s a cinematic experience I’d pay extra for!
6. Goobers
5. Twizzlers
Alternatively, people often refer to them as ‘The Good Red Vines.’ So far, I haven’t discovered how many Twizzlers a person can eat in one go.
4. Snickers Bites
Among the finest candy bars, it excels significantly in miniature versions. What’s more, they come without wrappers, reducing the gap from bag to taste buds to an absolute bare minimum.
3. Junior Mints
2. Sour Patch Kids
Similar to Swedish Fish, but boasting an array of taste options and the delightful tanginess of those unique sour crystals. No single flavor disappoints, and one jumbo-size bag provides plenty for sharing.
1. Starburst
Starburst virtually matches up with most movie theater candies. It offers a nice range of tastes, it takes time to consume, and it boasts an alluring, chewy consistency that never gets lodged in your teeth. Without a doubt, it stands out as the top choice among them.
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2025-03-12 17:56