Maybe it’s the leather seats or the free parking. But out of every movie theater in the U.S. and Canada, AMC Burbank 30 had the most lucrative box office in 2025.
The combined efforts of the three theater locations, less than a mile apart (AMC Burbank 16 and Town Centers 6 and 8), brought in the highest box office numbers, according to Comscore. The AMC in New York’s Lincoln Square came in second place. Overall, the theater chain holds seven of the top 10 highest-grossing box offices in the U.S. and Canada, with four locations in L.A., two in New York and one in Florida.
The L.A. AMC locations at The Grove, Century City and CityWalk ranked at numbers five, six and eight, respectively.
“AMC’s longstanding success in Los Angeles is driven by several factors, including the size of the market, the enthusiasm of the Hollywood community and local audiences for seeing films on the big screen, and AMC’s focus on delivering a high-quality moviegoing experience,” said a spokesperson for the theater chain in a statement to The Times.
“Across the region, AMC locations regularly offer a diverse film slate that spans major studio releases, independent titles, and AMC Artisan Films.”
AMC has had a presence in Southern California since 1969, when it opened its first West Coast location in La Habra. By the mid-1980s, the theater chain grew significantly, opening multiplexes in Burbank and Century City. There are now 36 locations in the greater Los Angeles market.
Daniel Loria, the senior vice president at the Box Office Company, a cinema data analytics firm, said Los Angeles and New York being the most profitable cities isn’t shocking. Many studios and theaters typically use the two largest metros to gauge which markets to expand to and how long a movie will be playing in theaters.
“This industry really relies on the power of those two cities for the entire world to function,” Loria said, referring to the film business.
“These are the capitals of cinema. You see this concentration within that top 10 because of the indexing performance they have, not only on a local level, but on a global level as well.”
The number of movies showing in larger cities also plays a key role in box office gross. Loria said that in some regions of the country, local theaters will only get three or four movies showing at a time. Whereas in bigger markets, there is more diversity in showings and more opportunities to go see a movie, as the theaters are usually bigger and have more screens. Beyond the number of screens, a film‘s visual format is also a major factor in profit and ticket pricing.
When seeing a movie in a premium format, like IMAX or Dolby Cinema 3D, at an AMC, an adult ticket can range between $25 and $30 on a weekend, whereas a standard format would cost around $18. Many movie theaters in Los Angeles have these high-quality screens, which can boost box office gross sales more than other theaters that do not offer a premium viewing experience.
Paul Dergarabedian, the head of marketplace trends at Comscore, said major theater chains usually have more drawing power when their locations have high-quality screenings available.
“What’s striking is how premium formats are driving impressive box office [sales] even in an age of price sensitivity among consumers,” said Dergarabedian. “Savvy moviegoers understand that the upcharge is worth the investment, particularly with films that are epic in scope and are best viewed in the grandest format on offer at their local cinema.”
In recent years, movie membership passes have helped bring audiences into theaters more consistently . AMC’s A-list membership allows subscribers to see up to four movies a week, for the monthly price of $27.99. There are nearly 1 million A-listers.
“The greater Los Angeles area is also home to a highly engaged AMC Stubs A-List membership base that makes theatrical moviegoing a priority,” wrote an AMC spokesperson. “The connection between AMC, Hollywood, and Los Angeles moviegoers continues to benefit our studio partners, filmmakers, and audiences.”
A historic theater in the Russian-occupied Ukrainian city of Mariupol has opened its doors more than three years after it was pummeled in a Russian airstrike that killed hundreds of civilians sheltering inside.
Moscow-installed authorities marked the rebuilding of the Donetsk Academic Regional Drama Theater with a gala concert on the building’s new main stage Sunday night. Images shared by Russian state media outlets showed the building’s marbled pillars and staircases, and dancers wearing traditional Russian headdresses known as kokoshniks performing.
The original theater was destroyed when it was targeted by a Russian airstrike on March 16, 2022, as Moscow’s forces besieged the city in the weeks after their invasion.
An Associated Press investigation later found evidence that the attack killed about 600 people inside and outside the building — almost double an early estimate from the government.
At the time of the strike, hundreds of civilians had sought refuge in the building after weeks of relentless shelling. The word “children” had been written with paint on the street outside the building, large enough to be seen by both pilots and satellites.
Moscow said that Ukrainian forces demolished the theater, a claim that the AP’s investigation refuted.
Russian forces took control of Mariupol’s city center shortly after the strike. The ruins were bulldozed and any remains were taken to the ever-growing mass graves in and around Mariupol.
Mariupol’s Ukrainian city council, which left the city when it was occupied for Ukrainian-controlled territory, called the rebuilding and the opening of the theater “singing and dancing on bones.”
“The ‘restoration’ of the theater is a cynical attempt to conceal the traces of a war crime and part of an aggressive policy of Russification of the city. The repertoire consists largely of works by Russian writers and playwrights,” the council said in a statement on Telegram.
Guests of honor at Sunday’s opening included Denis Pushilin, the Russian-installed head of the partially occupied Donetsk region, and St. Petersburg Gov. Alexander Beglov. Workers from St. Petersburg, which was twinned with Mariupol after Russia took full control of the city in May 2022, aided in the building’s reconstruction.
The Donetsk region, where Mariupol is located, has remained a key battleground throughout the war. Russia illegally annexed it in 2022, though Moscow still doesn’t control all of it. The region’s fate is one of the major sticking points in negotiations to end the war.
A funny thing about this year’s best films: Half of them are adaptations. As a movie lover who’s always hunting for new talent, new ideas and new stimuli, I used to view that as creative inertia. But 2025 has changed my mind.
Now I see artists drawing inspiration from the past to show that Hollywood should trust the sturdy bones that have kept it running for over a century: good yarns, bold casting, films that don’t feel made by focus groups or doomsaying bean-counters (or, God help us, AI), but by blood and sweat.
Our picks for this year’s best in arts and entertainment.
From original tales to radical reworkings of classics both high-falutin’ and raucously lowbrow, these 10 filmmakers all know that the most vital part of the storytelling business has stayed exactly the same. They have to wow an audience. And they did.
1. ‘Sinners’
Michael B. Jordan as twins Smoke and Stack in the movie “Sinners.”
(Warner Bros. Pictures)
A period-piece-vampire-musical mashup could have been discordant, but writer-director Ryan Coogler confidently makes all three genres harmonize. In “Sinners,” Coogler double-casts his longtime collaborator Michael B. Jordan as twin bootleggers Smoke and Stack, then pits them against a pack of banjo-picking bloodsuckers helmed by a roguish Jack O’Connell. We’re expecting a big, bloody brouhaha and we get it. Underneath the playful carnage, however, the question at stake is: Why suffer the daily indignities of the Jim Crow-era South when you could outlive — and eat — your oppressors? “Sinners” is the most exciting film of 2025, both for what it is and for what it proves: that fresh blockbusters still exist and people are eager to gobble them up.
The stage’s iconic mean girl glides from 1890s Norway to 1950s England in this vibrant and venomous adaptation of Henrik Ibsen’s “Hedda Gabler.” Tessa Thompson stars as the restless housewife who needs to secure her milquetoast husband (Tom Bateman) a promotion and has a nasty habit of playing with guns. Keeping pace with her manipulative anti-heroine, writer-director Nia DaCosta (“Candyman”) makes a few calculated moves of her own, including gender-swapping Hedda’s ex into a curvaceous career woman (a haughty Nina Hoss) whose drab and geeky new girlfriend (Imogen Poots) irritates their hostess’ insecurities. As a capper, “Hedda” stages its brutal showdown at an all-night vodka-and-cocaine-fueled mansion shebang with a live jazz band, a lake for skinny-dippers and a hedge maze where former lovers are tempted to canoodle. The original play is over a century old, but every scene feels screamingly alive.
Joaquin Phoenix, left, and Pedro Pascal in “Eddington.”
(A24)
No film was more polarizing than Ari Aster’s COVID-set satire about a mask-hating sheriff (Joaquin Phoenix), a sanctimonious mayor (Pedro Pascal) and the high-tech cabal that benefits when these two modern cowboys come to blows. “Eddington” immortalizes the bleak humor and lingo of May 2020 (think murder hornets, Antifa and toilet paper hoarders). More stingingly, it captures the mental delirium of a small town — make that an entire planet — that hasn’t yet realized that there’s a second sickness seeping in through their smartphones. Everyone’s got a device in their hand pretty much all the time, aiming their cameras at each other like pistols in a Wild West standoff. Yet no character grasps what’s really going on. (I have a theory, but when I explain the larger conspiracy, I sound cuckoo too.) This is the movie that will explain pandemic brain to future generations. With distance, I’m pretty sure the haters will come around.
Leonardo DiCaprio in the movie “One Battle After Another.”
(Warner Bros. Pictures)
Every shot in Paul Thomas Anderson’s invigorating nail-biter is a banger: sentinels skateboarding over rooftops, caged kids playing catch with a crumpled foil blanket, Teyana Taylor’s militant Perfidia Beverly Hills blasting an automatic rifle while nine months pregnant. It’s the rare film that instantly imprints itself on the viewer. On my second watch, I was shocked by how much of “One Battle After Another” already felt tattooed on my brain, down to the shudder I got from Sean Penn’s loathsome Col. Lockjaw licking his comb to tidy his bangs. Riffing from Thomas Pynchon’s “Vineland,” the central drama follows flunky anarchist Bob (Leonardo DiCaprio) fumblingly attempting to rescue his daughter (Chase Infiniti) from Lockjaw’s clutches. But he’s not much help to her, and as the title implies, this is merely one skirmish in humanity’s sprawling struggle for freedom that has, and will, drag on forever. Anderson’s knack for ensemble work stretches back as far as “Boogie Nights,” yet here, even his unnamed characters have crucial roles to play. His world-building has never before felt this holistic and inspirational.
(“One Battle After Another” is now playing in theaters.)
5. ‘Kiss of the Spider Woman’
Jennifer Lopez and Tonatiuh in the movie “Kiss of the Spider Woman.”
(Roadside Attractions)
The backstory behind this stunner couldn’t be more baroque: Director Bill Condon (“Dreamgirls”) boldly revamped a Broadway musical of an Oscar-winning drama (itself taken from an experimental novel) about two inmates in an Argentine cell who mentally escape into the movies. Each incarnation has doubled down on the sensorial overload of what came before. If you know “Kiss of the Spider Woman’s” lineage, you’ll be impressed by how Condon ups the fantasy and stokes the revolutionary glamour with more Technicolor dance showcases for Jennifer Lopez’. (She’s doing her best Cyd Charisse, which turns out to be darned good.) If this is your first taste of the tale, give yourself over to the prickly but tender relationship between prisoners Luis and Valentin, played by feisty new talent Tonatiuh and a red-blooded Diego Luna. This is go-for-broke filmmaking with a wallop. As Luis says of his own version of “Kiss of the Spider Woman” playing in his head, “Call it kitsch, call it camp — I don’t care, I love it.”
Thai director Ratchapoom Boonbunchachoke’s Cannes Grand Prix winner opens with a haunted vacuum cleaner. From there, it gets even more surprising. Ghosts have infested a wealthy widow’s factory and are possessing appliances, seducing her son and cozying up to the prime minister for favors. Some of these people have died by accident, some by corporate neglect or worse. This droll spook show bleeds into romance and politics and, to our shock, becomes genuinely emotional. (It helps to remember that the military killed over 80 Bangkok protesters in 2010.) But why vacuum cleaners, you ask? The conceit is more than a sticky idea. Ordinary people can get crushed but the anger they leave behind lingers like fine dust.
(“A Useful Ghost” opens Jan. 16, 2026, in theaters.)
7. ‘The Roses’
Olivia Colman and Benedict Cumberbatch in the movie “The Roses.”
(Jaap Buitendijk / Searchlight Pictures)
Technically, “The Roses” is rooted in the 1980s hit novel and subsequent blockbuster “The War of the Roses,” which starred Michael Douglas and Kathleen Turner as an estranged couple who attack each other with lawyers, poison and chandeliers. In spirit, however, this redo is pure 1930s screwball comedy. Leads Benedict Cumberbatch and Olivia Colman are skilled verbal ninjas who hurl razor-sharp insults at each other’s egos, and although their characters’ divorce happens in California, director Jay Roach lets the actors keep their snippy British accents. The script by two-time Oscar nominee Tony McNamara (“The Favourite,” “Poor Things”) adds a cruel twist to the original: This time around, the marrieds truly do try their damnedest to love and support each other. And still, their walls come tumbling down.
Ye and Elon Musk in the documentary “In Whose Name?”
(AMSI Entertainment)
Nico Ballesteros was a high schooler with an iPhone when he entered Kanye West’s orbit in 2018. Over the next six years, the Orange County kid shot over 3,000 hours of footage as Ye (as the artist legally became known in 2021) jetted from Paris to Uganda, Calabasas to the White House, meeting everyone from Kenny G to Elon Musk on a quest to fulfill his creative and spiritual goals while incinerating his personal life and public reputation. Ye gave the documentarian full access with no editorial oversight, besides one moment in which he tells the camera that he wants the film to be about mental health. This riveting tragedy definitely is. We see an egomaniac whose fear of being beholden to anything motivates him to go off his meds, a billionaire provocateur who believes he can afford the consequences of his bigotry and, above all, a deeply flawed man who nukes his entire world to insist he’s right.
An image from the movie “Sirāt,” directed by Oliver Laxe.
(Festival de Cannes)
The techno soundtrack of Oliver Laxe’s desolate road thriller has rattled my house for months. Lately, I’ve spent just as much time contemplating the movie’s silence — those hushed stretches in which this caravan of bohemians speeds across the Moroccan desert looking like the only free people left on Earth. A father, Luis (“Pan’s Labyrinth’s” Sergi López), and his 12-year-old son team up with this band of tattooed burnouts in the hope of finding the boy’s runaway sister. Before long, Luis is just hoping to make it to safety, assuming anywhere safe still exists. Static on the radio warns that World War III might be underway. These outsiders click off the news and crank up the music. The paradox of “Sirāt” is that I’m dying to talk about it more but I’ve got to keep my mouth shut until people experience its dramatic twists for themselves.
(“Sirāt” returns to theaters on Feb. 6, 2026.)
10. ‘The Naked Gun’
Pamela Anderson and Liam Neeson in the movie “The Naked Gun.”
(Frank Masi / Paramount Pictures)
Liam Neeson needed this pummeling pun-fest. So did everyone else in 2025. Director Akiva Schaffer’s continuation of the “Police Squad!” franchise let the 73-year-old “Taken” star poke fun at his own bruising gravitas. Playing the son of Leslie Nielsen’s Lt. Frank Drebin, Neeson kept us in hysterics with a stupid-brilliant barrage of surreal wordplay and daffy slapstick. The casting was as odd — and perfect — as rumors that he and his co-star Pamela Anderson started dating on set. This fourth sequel didn’t try to outsmart the classic Zucker, Abrahams and Zucker template. It simply told the same old story: Cop meets babe, cop and babe canoodle with a magical snowman, cop drops his trousers on live TV, this time minus the blimp. Goodyear? No, the worst — which made Neeson our hero.
Since I’m all jazzed-up about great movies, here are 10 honorable mentions very much worth a watch.
“The Ballad of Wallis Island” A kooky millionaire strong-arms his favorite mid-aughts folk duo into playing a reunion show on his Welsh island. Sounds cutesy, but it’s the movie I recommended most — to everyone from my mailman to my mother. They all loved it. Join the fan club.
“Bunny” This East Village indie by debut director Ben Jacobson is a scummy gem. A gigolo’s birthday goes very wrong. But all the characters racing up and down the stairs of his uber-New York walk-up hovel are a howl.
“If I Had Legs I’d Kick You” Rose Byrne excels equally at comedy and drama. This audit of a breakdown smashes both together and cranks the tension up to eleven. Playing a high-stress working mom of an ill child, her try-hard heroine leans in so harrowingly far, she goes kamikaze.
“Lurker” Today’s celebrity might be viral on Instagram and unknown everywhere else. Alex Russell’s stomach-churning psychodrama stars Archie Madekwe as an L.A.-based singer on the brink of genuine fame and Théodore Pellerin as the hanger-on who endures — and exploits — the fledgling star’s power moves and hazy boundaries.
“Magic Farm” Filmmaker Amalia Ulman’s rascally farce stars Chloë Sevigny and Alex Wolff as clickbait journalists who fly to Argentina to shoot a viral video about a singer in a bunny costume and wind up looking twice as ridiculous.
Keke Palmer, left, and SZA in the movie “One of Them Days.”
(Anne Marie Fox / Sony Pictures)
“One of Them Days” Keke Palmer and SZA play broke Baldwin Hills roommates who have nine hours to make rent. I’d happily watch their stoner high jinks in real time.
“The Perfect Neighbor” Pieced together primarily from police body-camera footage, Geeta Gandbhir’s documentary unfurls in a Florida cul-de-sac where a community — adults, kids and cops — agrees that one woman is an entitled pill. The problem is she thinks they’re the problem. And she has a gun.
“Sisu: Road to Revenge” If Buster Keaton were alive, he’d hail this grisly, mostly mute Finnish action flick as a worthy successor to “The General.” It even boasts a thrilling sequence on a train, although director Jalmari Helander also brazenly poaches from “Die Hard” and “Mad Max: Fury Road.”
“Train Dreams” Trees fall in the woods and a 20th-century logger (Joel Edgerton) plays an unheard, unthanked but beautiful role in the building of America.
“Wake Up Dead Man: A Knives Out Mystery” Detective Benoit Blanc (Daniel Craig) teams up with a soul-searching priest (Josh O’Connor) to solve a perplexing church stabbing. From deft plot twists to provocative Catholic theology, Rian Johnson’s crowd-pleasing murder mystery is marvelously executed.
I can’t pretend that 2025 delivered a banner crop of theater productions. Many of the best shows on this list came from elsewhere. And a higher than usual percentage were seen at the Ahmanson Theatre, which had a remarkably good year — perhaps the best of any local theater.
It was so good, in fact, that I left off Michael Arden’s revival of “Parade.” My self-consciousness about the high number of touring productions persuaded me not to include “Shucked” at the Hollywood Pantages, which lightened the summer with its country bumpkin merriment. And I also omitted “Here There Are Blueberries” at the Wallis not because it wasn’t one of the best productions but because it was on my highlight reel of 2022, when this Tectonic Theatre Project play, conceived and directed by Moisés Kaufman, premiered at La Jolla Playhouse.
Our picks for this year’s best in arts and entertainment.
The highlight at the Mark Taper Forum this year was Jocelyn Bioh’s comedy “Jaja’s African Hair Braiding,” which was on its final touring stop. And one of the best musical nights I had all year was courtesy of a concert version of the National Yiddish Theatre Folksbiene’s revival of “Fiddler on the Roof” in Yiddish at the Soraya.
Of course, L.A. had the theater world’s attention this summer when Cynthia Erivo headlined the Hollywood Bowl’s revival of “Jesus Christ Superstar,” a production that seemed to take over Instagram with the clobbering force of the movie campaign for “Wicked.” But my own pick for L.A. production of the year would be Jessica Kubzansky’s revival of “The Night of the Iguana.”
Kubzansky demonstrated by example what’s required. She and Tennessee Williams were an excellent match. But it’s not just about pairing the right director with the right author. It’s also about fielding a well-synchronized artistic company.
Too many locally grown productions (from our larger theaters especially) seem to leave out one of these elements. To judge by the results, the producing process seems top-down rather than organic. A few times this year at the bigger theaters it seemed as if the principal casting was an afterthought.
Co-productions can be a smart way to pool resources while spreading the risk. But they aren’t always the answer, as proved by the lackluster revival of “Noises Off” at the Geffen Playhouse, a co-production with Chicago’s Steppenwolf Theatre Company,
The best new dramatic work I saw anywhere this year was Branden Jacobs-Jenkins’ “Purpose,” which deservedly won the Pulitzer Prize for drama and the Tony Award for best play. La Jolla Playhouse has announced that it will produce the West Coast premiere next year. I won’t hold my breath for an L.A. production. (Jackie Sibblies Drury’s “Fairview” is finally heading here next season, but I’m still waiting for countless AnnieBaker plays.) But at least Eboni Booth’s Pulitzer Prize-winning “Primary Trust” is coming to the Taper in May.
The writer who made the biggest first impression on me is a.k. payne, author of “Furlough’s Paradise,” which was the best new play I saw in town all year. Plays that I saw in New York that deserve major productions in L.A. include Bess Wohl‘s “Liberation,” Kimberly Belflower‘s “John Proctor Is the Villain,” Samuel D. Hunter’s “Little Bear Ridge Road,” and, if any company is daring enough, Jordan Tannahill’s “Prince Faggot.”
I’m still thinking about Toni Servillo’s full-throated performance in “Tre modi per non morire: Baudelaire, Dante, i Greci,” adapted from works by Giuseppe Montesano. This solo show, which I saw at Milan’s Piccolo Teatro, offered a passionate defense of how great literature can teach us to live again.
The theater can and should be a sanctuary from the technology that is encroaching on what distinguishes us as human beings — our capacity to contemplate ourselves and others feelingly.
2025 definitely had its high points. But there seems to be a weakening of institutional resolve in the face of unrelenting economic, political and cultural pressures. Let’s pray for a renewal of determination to create the theater — and society — we deserve.
Herewith, in no particular order, are my Los Angeles theater highlights of 2025.
Kasey Mahaffy and CJ Eldred in “A Man of No Importance” at A Noise Within.
(Photo by Craig Schwartz)
“A Man of No Importance,” A Noise Within. This revival of a lesser known musical by Stephen Flaherty, Lynn Ahrens and Terrence McNally (the team behind “Ragtime”) was one of the unexpected treasures of 2025. A tale of a closeted Dublin bus driver with a passion for Oscar Wilde and a yen for amateur theatricals, the show featured a star performance from Kasey Mahaffy that was sublime in both its modesty and flamboyance. Julia Rodriguez-Elliott’s production gracefully depicted a world of ordinary folks looking at the aesthetic stars from their humdrum daily realities.
Claudia Logan, from left, Bisserat Tseggai, and Mia Ellis in “Jaja’s African Hair Braiding” at the Mark Taper Forum.
(Javier Vasquez / Center Theatre Group)
“Jaja’s African Hair Braiding,” Mark Taper Forum. Jocelyn Bioh’s high-spirited ensemble comedy, vibrantly directed by Whitney White, took us inside the lives of the African immigrant women who work at a Harlem braiding salon. While working their fingers to the bone creating the most flamboyant hair designs, these characters reveal the great distances they’ve traveled, the courage that’s been required of them and the vulnerabilities they face in their increasingly hostile promised land.
Cynthia Erivo and Adam Lambert in “Jesus Christ Superstar” at the Hollywood Bowl.
(Farah Sosa)
“Jesus Christ Superstar,” Hollywood Bowl. Cynthia Erivo delivered a divinely inspired performance in this revival of Andrew Lloyd Webber and Tim Rice’s 1971 musical, directed and choreographed with concert-like brio by Sergio Trujillo. Adam Lambert was the electric Judas to Erivo’s nuclear Jesus, and the energy they emitted was more than enough to power all of social media for a few days in August. This show didn’t just go viral — it went global pandemic.
Julanne Chidi Hill, from left, Dennis Dun, Jully Lee and Riley Shanahan in “The Night of the Iguana” at Boston Court Pasadena.
(Brian Hashimoto)
“The Night of the Iguana,”Boston Court Pasadena. Artistic director Jessica Kubzansky cut to the spiritual core of one of Tennessee Williams’ lesser major plays and made it seem on par with his masterpieces, “The Glass Menagerie” and “A Streetcar Named Desire.” Jully Lee was brilliant as Hannah, the itinerant painter who turns up with her 97-year-old poet father at a Mexican seaside inn that is like a refuge for the world’s strays. Julanne Chidi Hill, who played the lusty widow hotel proprietor, Maxine, and Riley Shanahan, who played Lawrence Shannon, the disgraced reverend on the lam from his misdeeds, helped bring the play’s lonely battle for redemption to blistering life.
DeWanda Wise, left, and Kacie Rogers in “Furlough’s Paradise” at the Geffen Playhouse.
(Jeff Lorch)
“Furlough’s Paradise,” Geffen Playhouse. This shape-shifting two-character drama by a.k. payne explores the politically loaded subject of identity through the relationship of two queer Black cousins, who grew up together but whose lives have diverged. Sade (DeWanda Wise) is on a three-day furlough from prison; Mina (Kacie Rogers), adrift in California, has returned home to connect with her roots. Together, they challenge each other’s understanding of the past and sense of possibility for the future. The drama, directed by Tinashe Kajese-Bolden and choreographed by Dell Howlett, routinely escaped the confined realism of the dramatic situation to find freedom in a realm of boundless lyricism.
Wesley Guimarães, left, and Jack Lancaster and in “Bacon” at Rogue Machine.
(Jeff Lorch)
“Bacon,”Rogue Machine Theatre at the Matrix’s Henry Murray Stage. This fierce two-hander by British playwright Sophie Swithinbank, about an abusive relationship between two teenage boys awakening to their sexuality, was all the more combustible for being performed in such an inescapable intimate space. Wesley Guimarães and Jack Lancaster brought out the contrasting natures of these characters who are drawn to each in ways neither can fully work out. The production, directed by Michael Matthews, incisively balanced the traumatic push and erotic pull.
Jennifer Babiak and Steven Skybell in “Fiddler on the Roof.”
(Luis Luque / Luque Photography)
“Fiddler on the Roof,” The Soraya. This fluidly staged concert version of the National Yiddish Theatre Folksbiene’s acclaimed revival in Yiddish of this classic American musical brought a sharp-edged authenticity to the story of Tevye the milkman and his marriageable daughters navigating a treacherous world of pogroms and fraying tradition. Steven Skybell, magnificent in the role of the besieged patriarch, led a superb cast that brought a new understanding to an old chestnut through the force of Yiddish language and culture. The production, directed by Oscar- and Tony-winning actor Joel Grey, spoke as much to our own political and social turmoil as to that of the characters without ever having to press the point.
Rachel Simone Webb and the company of the North American tour of “& Juliet.”
(Matthew Murphy)
“& Juliet,”Ahmanson Theatre. This jukebox musical imagines with unstinting originality a scenario in which the doomed heroine of William Shakespeare’s “Romeo and Juliet” doesn’t die at the end of the play. Granted a theatrical second act, Juliet makes the rollicking most of it. The same could be said of this kinetically entertaining touring production. Tragedy was transformed not just into comedy but into a Max Martin dance party, replete with hits from the blockbuster Swedish producer that were made famous by such pop titans as Katy Perry, Britney Spears and the Backstreet Boys.
Pragun Bhardwaj, from left, Taha Mandviwala and the national touring company of “Life of Pi.”
(Evan Zimmerman)
“Life of Pi,” Ahmanson Theatre. The most visually entrancing production of the year was also one of the most dramatically captivating. This adventure tale of a boy trying to survive a shipwreck with the help of his imagination and a few of the surviving animals of his family’s zoo translated into purely theatrical terms the fable-like enchantment of Yann Martel’s 2002 Booker Prize-winning novel. Lolita Chakrabarti’s smart adaptation rode the magic carpet of Max Webster’s staging, which had the most enchanting menagerie of puppets since “The Lion King.”
Cher Alvarez in “Paranormal Activity.”
(Kyle Flubacker)
“Paranormal Activity,” Ahmanson Theatre. This impeccably staged horror play by Levi Holloway succeeded in injecting maximum fear without theatergoers having to hate themselves in the morning. The characters, rendered with contemporary exactness by a first-rate cast, were so recognizable that they made the mysterious events unfolding around them terrifyingly plausible. The London house, ingeniously laid out by scenic designer Fly Davis, practically stole the show.
Imax is having a moment. More than 50 years after debuting at the 1970 Osaka world’s fair with the 17-minute experimental film “Tiger Child,” the format has become the ascendant king of spectacle. Today, Imax counts 1,829 screens in 89 countries — just 1% of theaters — yet makes up an increasingly vital part of the theatrical box office, with 50% market share growth since 2018 and an estimated $1.2-billion take in 2025. And the company shows no signs of slowing down.
“As long as there are filmmakers who are fans as well as studios who are fans, we’re going to make a difference,” says Chief Executive Richard Gelfond, who acquired the company in 1994 with business partner Bradley Wechsler.
Breaking into mainstream Hollywood didn’t come easy. For decades Imax films were largely documentaries, often about space exploration, nature or discoveries, with systems installed in museums and science centers. The flash point came in 2008 with Christopher Nolan’s “The Dark Knight,” which featured 28 minutes filmed with Imax 70mm cameras. Film buff and industry content creator Lizzy Gonzalez vividly remembers when the Joker (Heath Ledger) unmasks himself during the chaotic bank heist. “It was my earliest Imax experience, and my jaw dropped in awe,” she says. Ever since, she’s been hooked, admitting the premium format is “the only legit movie experience that immerses you in the story.”
Directors are now leaning in, with the “Filmed for Imax” (FFI) lineup expanding to 14 titles in 2025 — doubling last year’s total. The program lets filmmakers shoot with Imax cameras or other approved cameras and provides additional production support, such as a longer window with the equipment and more publicity during release. “In previous years, Imax used to do about 10% of the box office in North America, but [with] FFI movies we’ve averaged about 15%. It means more dollars to whoever makes them and more profit to the studio,” says Gelfond.
Regina Hall in “One Battle After Another.”
(Warner Bros. Pictures)
Not all movies exhibited in Imax formats are shot under the FFI banner — indeed, from James Cameron’s original “Avatar” to Paul Thomas Anderson’s “One Battle After Another,” the majority of Imax releases are instead enhanced using digital media remastering. But movies that take advantage of FFI, including “Sinners,” “Superman” and “F1,” are seeing box-office benefits and a palpable moviegoing experience.
“Today’s audiences are searching for an emotional connection; they want to feel something, to step inside the filmmaker’s vision. That’s exactly what we wanted to give them by shooting in 65mm Imax,” says “Sinners” cinematographer Autumn Durald Arkapaw, who was the first woman to shoot in the format. “When you sit in a dark theater and take in a full 1.43:1, 15-perf Imax image, it fills your field of view, and you finally understand what cinema can be.”
Claudio Miranda, the cinematographer behind Joseph Kosinski’s “Top Gun: Maverick” and “F1,” agrees. “For me, Imax is all about immersion. It brings audiences more into the movie than any other format, surrounding them from the north, south, east and west with the film, which is needed for a story of the size and scope of ‘F1.’ Joe and I operate under the shared understanding that audiences react more viscerally to a film that’s been shot authentically, and they can feel it in their bones if it’s not. So we gravitate towards telling immersive, human stories.”
Imax is improving technical capabilities too, including a new Imax 70mm film camera system nicknamed “The Keighley” in honor of late Chief Quality Officer David Keighley, who oversaw hundreds of Imax projects. Its most significant improvement is reduced noise. The previous model was bulky, heavy and notoriously loud. Thanks to the quieter design, Nolan’s “The Odyssey” will become the first theatrical movie shot entirely on Imax film cameras, something he couldn’t achieve on “Oppenheimer” due to sound issues.
“Brad Pitt” in “F1.”
(Warner Bros. Pictures)
Nolan’s adaptation of Homer’s epic has already caused a stir, as most Imax tickets sold out a year before its release next July. Imax superfan Shane Short, who saw “Oppenheimer” 132 times and once sat next to Arkapaw during a screening of “Sinners,” says it’s a good thing. “What really pulls me into movies is the emotional aspect when connecting with something. For me, it’s hard to get that in a normal theater. Imax is truly the ultimate immersive experience that draws me in.”
Of course, Imax is not the only big-screen game in town. There’s AMC Prime, Cinemark XD, Regal RPX, Dolby Cinema, Real3D and 4DX, to name a few. All share one thing in common: an extra premium for a ticket. “The upcharges for a lot of people are worth it,” says Comscore senior media analyst Paul Dergarabedian. “When you go into Imax or other premium formats, it’s really about the sound and vision coming together. And for the right movie, the right screen, fans who don’t go to the movies every day are going to splurge.”
How much that will cost audiences going forward is left up to theaters. “By way of our agreement, it’s not our place to get involved,” says Gelfond about pricing. “We believe there could be more elasticity if it’s a big release, but again, it’s up to the exhibitor.” Any indication of a price squeeze on consumers will likely surface in the next two years with the forthcoming “Project Hail Mary,” “Supergirl,” “The Batman: Part Two” and “Dune: Part Three,” for which director Denis Villeneuve shot scenes using the new Imax 70mm cameras.
