As winter tightens its grip on Minnesota, the allure of a warm movie theater becomes increasingly irresistible. Brian Eggert’s recent reviews spotlight three diverse films hitting screens this holiday season, but they also illuminate something more profound: the continued relevance of theatrical experiences in our streaming-saturated world. Despite predictions of cinema’s demise, the theatrical experience isn’t just surviving—it’s revealing itself as an essential cultural institution that streaming cannot replicate.
The Theatrical Experience Offers Artistic Immersion Streaming Cannot Match
The upcoming release of ‘Marty Supreme,’ directed by Josh Safdie and starring Timothée Chalamet, exemplifies why theatrical viewing remains superior for certain films. Safdie’s previous works like ‘Uncut Gems’ and ‘Good Time’ demonstrate his mastery of creating visceral, anxiety-inducing experiences that depend on complete audience immersion. The controlled environment of a theater—with its massive screen, professional sound system, and absence of distractions—creates an immersive container that streaming platforms simply cannot replicate.
This immersion isn’t merely about technical specifications. When A24 released the Safdie brothers’ ‘Uncut Gems’ in theaters in 2019, audiences reported physical reactions to the film’s tension—sweating, elevated heart rates, and collective gasps. These shared physiological responses create a communal viewing experience that deepens engagement with the art. Watching such films at home, where pausing, phone-checking, and other distractions are inevitable, fundamentally alters and diminishes the artistic experience the filmmaker intended.
The Diversification of Theatrical Releases Challenges Streaming’s Supposed Variety
The three films highlighted in Eggert’s review—’Marty Supreme,’ ‘No Other Choice,’ and ‘Jay Kelly’—represent distinctly different cinematic approaches. Park Chan-wook’s satirical examination of capitalism in ‘No Other Choice’ offers precisely the kind of challenging international perspective that typically struggles to find prominence on algorithm-driven streaming platforms.
Netflix’s own data reveals a troubling pattern: despite housing thousands of titles, the majority of viewing hours concentrate on a small percentage of content, primarily original series and mainstream acquisitions. A 2021 study from the University of Southern California found that while streaming platforms tout diversity, their recommendation algorithms consistently push users toward similar content, creating feedback loops that limit exposure to challenging or unique films.
Theatrical distribution, despite its flaws, still provides a more democratic showcase. A24, Neon, and other theatrical distributors have built successful business models around challenging films that streaming platforms consider too risky. The theatrical success of films like ‘Everything Everywhere All at Once’ and ‘Parasite’ demonstrates that audiences will embrace complex, challenging cinema when given the opportunity—opportunities that streaming platforms increasingly filter through risk-averse algorithms.
Hybrid Release Strategies Represent Evolution, Not Extinction
The varied release strategies mentioned in Eggert’s reviews—theatrical exclusive for ‘Marty Supreme,’ streaming-first for ‘Jay Kelly,’ and hybrid for ‘No Other Choice’—highlight the industry’s evolution rather than cinema’s demise. This diversification of distribution models represents adaptation, not capitulation.
Warner Bros. Discovery’s dramatic pivot away from their 2021 strategy of simultaneous streaming and theatrical releases confirms this reality. After experimenting with releasing their entire 2021 slate simultaneously on HBO Max and in theaters, the studio reversed course when they discovered the strategy cannibalized overall revenue and damaged filmmaker relationships. Their current approach—theatrical exclusivity for major releases followed by streaming availability—acknowledges that these platforms serve different purposes and audiences.
The data supports this hybrid approach. A 2022 Ernst & Young study found that people who frequently stream movies are also more likely to frequently attend theaters. The relationship isn’t zero-sum but complementary, with each format serving different viewing contexts and experiences. The 45-day theatrical window that has emerged as the new industry standard represents a compromise that preserves the theatrical experience while acknowledging modern viewing habits.
Alternative Viewpoints: Is Theatrical Exhibition Truly Sustainable?
Critics of theatrical exhibition point to legitimate concerns. The economic model remains challenging—theater chains like AMC and Regal have faced bankruptcy threats, and ticket prices continue rising while amenities struggle to justify the cost. Additionally, accessibility issues persist for disabled viewers, rural communities, and families with young children who might find streaming’s convenience impossible to abandon.
These criticisms merit serious consideration. However, they represent challenges to be solved rather than reasons to abandon theatrical exhibition entirely. Theaters have responded with subscription models, premium formats, and enhanced food and beverage options. The success of chains like Alamo Drafthouse and boutique theaters demonstrates viable paths forward that emphasize quality experiences over volume.
Furthermore, the pandemic-era prediction that audiences would permanently abandon theaters has proven false. While overall attendance hasn’t fully recovered to pre-pandemic levels, films that offer genuine spectacle or cultural significance—from ‘Barbie’ to ‘Oppenheimer’—have demonstrated the continued pull of theatrical experiences. The problem isn’t that audiences don’t want to go to theaters; it’s that they’ve become more selective about which films merit the trip.
The Cultural Significance of Shared Viewing Spaces
Perhaps the most compelling argument for theatrical exhibition transcends business models and technology—it’s about preserving cultural spaces for collective experience. In an increasingly fragmented media landscape, theaters remain one of the few places where diverse communities gather to share stories simultaneously.
The ‘Barbenheimer’ phenomenon of summer 2023 demonstrated this power perfectly. What began as a coincidental same-day release of two wildly different films transformed into a cultural event that drove millions to theaters, spawned countless memes, and created a shared cultural touchpoint across demographics. This kind of spontaneous cultural convergence rarely happens with streaming releases, where viewing is dispersed across time and algorithms segment audiences into increasingly narrow taste profiles.
As we consider Eggert’s reviews of these three diverse films, we’re reminded that the question isn’t whether theatrical exhibition will survive, but how it will evolve to complement rather than compete with streaming. The evidence suggests that rather than choosing between models, the future lies in recognizing their different strengths and purposes. Theatrical exhibition offers communal immersion and cultural connection; streaming provides convenience and accessibility. Both deserve to thrive.
