Should Cinemas Put Popular Film Franchises Back On The Big Screen?

Film Feature by Chris Olson

The news landed like a tremor in the geekosphere: Peter Jackson’s seminal fantasy trilogy, The Lord of the Rings, is set for a massive return to UK cinemas in January 2026. For a generation of filmgoers, this is nothing less than a pilgrimage—an opportunity to witness the vast plains of Middle-earth, the epic battles, and the quiet weight of a hobbit’s burden, all in the place they truly belong: the gigantic, light-eating darkness of the big screen.

It is an undeniably exciting prospect, one that speaks volumes about the enduring power of cinematic spectacle. But this latest, high-profile re-release begs a crucial question for the industry: should cinemas continue to rely so heavily on cycling popular, decades-old film franchises back into circulation? While the financial benefits are clear, we must consider the artistic cost of dwelling in the past.

The immediate and most potent argument in favour of these re-releases is the power of nostalgia and the undeniable communal experience. For many, The Fellowship of the Ring, The Two Towers, and The Return of the King were pivotal events in their lives, perhaps even their first major blockbuster cinema trip. A re-run is not just a film; it’s a time machine, an emotional trigger that fills auditoriums with a shared, fervent appreciation that is often missing from a Tuesday night screening of the latest, lukewarm sequel.

Furthermore, these franchises often possess the kind of visual scope and sound design that home viewing, even with the best modern technology, simply cannot replicate.

The scale of the Millennium Falcon, the chilling echo of the Balrog’s roar, or the dizzying heights of Hogwarts are all diminished when constrained by a living room wall.

Cinemas, at their best, are cathedrals of spectacle, and throwing a beloved classic back onto the silver screen ensures that the film’s original, ambitious vision is preserved and experienced as intended. It also serves a vital function in educating a new generation of film fans, allowing them to experience the works that shaped modern #filmmaking without the distraction of a phone screen or the pause button. Financially, they represent a safe bet, providing necessary revenue streams for exhibitors during traditionally quiet periods or when the theatrical release schedule is looking thin.

Yet, this reliance on established intellectual property—even when packaged as a 'classic' event—carries a significant risk. For all the joy a re-release of Star Wars or The Dark Knight brings, every screen dedicated to a twenty-year-old film is a screen taken away from something new. Independent cinema, small-budget features, and emerging filmmakers already struggle immensely to secure even a handful of desirable slots in major multiplexes. When those precious few screens are instead handed over to a known quantity that has already recouped its cost a hundred times over, it chokes the oxygen supply for contemporary, original storytelling.

The industry needs to be wary of becoming a museum of past glories. While honouring classics is essential, prioritising them over new voices sends a worrying signal: that the only films worth seeing in a cinema are those already validated by history and massive box office returns. It can also lead to a saturation point, where the special event status of a re-release is diluted. If everything is an event, then nothing is.

The balance, as always, is key. The occasional, well-timed, and genuinely meaningful re-release—like the announcement for The Lord of the Rings—is a powerful tool to remind us why we fell in love with cinema in the first place, bringing financial stability and nostalgic comfort. However, if the business model shifts too far towards being an expensive rerun service, it ceases to be a forward-looking industry. Cinemas must continue to champion the new, the bold, and the risky, otherwise, they risk creating a sterile environment where innovation is sacrificed at the altar of comfortable, familiar franchise fanfare. We can cherish the past, but we must invest in the future.