🍿What If Movie Theaters Had Subscriptions Like Netflix? A Former Theater Employee Explains

TL;DR 📝 

• MoviePass, a U.S. theater subscription service, once offered unlimited movies but collapsed due to unsustainable pricing. It made a comeback in 2022 with a more realistic model. 

• Major U.S. chains now offer their own subscriptions, and in France, movie subscriptions have been the norm since the early 2000s. 

• France’s model supports film diversity and boosts the entire industry—it’s even spreading across Europe. So, what about Korea? 

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💡"Why Can't Movie Theaters Be Like Netflix?" 

Ever wondered, “Wouldn’t it be awesome if we could subscribe to a movie theater for like $10–$20 a month and watch as many movies as we want?”  Imagine soaking in that buttery popcorn smell, sitting in a dark, quiet auditorium with a huge screen, surrounded by people quietly breathing in sync. If we could enjoy that vibe with a subscription pass? Total bliss. 

I used to work at Megabox for quite a while—and as a hardcore movie theater fan, I always thought it was a shame we didn’t have something like that here. Even when the theaters were half-empty, I kept thinking, “Why not try a subscription model?” 

So I got curious—Do other countries do this?  Spoiler: Yes. And not only do they exist, some have been around for years, some crashed and came back stronger. Let’s talk about it. If you're into movie culture, you’ll love this story. 

🎞 “One Movie a Day?”—The Netflix of Theaters That Rocked America 

Let’s start with the U.S., home of the legendary MoviePass.  Launched in 2011, it was mind-blowing: for just $9.95 a month (about 13,000 KRW), you could watch one movie every day in theaters. Seriously. No wonder it hit over 3 million subscribers. People were hyped. Everyone was like, “Wait, this actually works?” and it just exploded. 

💸 The More They Sold, the Faster They Sank 

But here’s the catch—it was way too cheap.  Theaters lost money, operational costs skyrocketed, and revenue just couldn’t keep up. Eventually, MoviePass shut down in 2019. 

At its peak in 2018, revenue hit $180 million—but losses exceeded $200 million. Oof. From a movie lover’s perspective, it was a real loss. The dream of Netflix-style cinema subscription felt like it was slipping away. 

🔁 MoviePass Came Back—And Got an HBO Documentary 

But they didn’t give up. In 2022, MoviePass came back—smarter this time.  They introduced tiered pricing ($10–$30 a month, or up to $50 in some regions), with different viewing limits based on your plan. Not unlimited anymore, but way more sustainable. 

They expanded partner theaters and revamped operations. It felt like they actually learned something from the flop. The service started getting good buzz again, and HBO even made a documentary about it in 2023–2024, called “MoviePass, MovieCrash.” 

📈 So... Are They Profitable Now? 

According to an interview with CEO Stacy Spikes, they’ve “turned a profit” and are maintaining it in 2024.  Still, the company hasn’t released exact numbers, which makes you wonder if the profits are modest at best. Estimated annual revenue is around 40–50 billion KRW (~$30–40M USD)—tiny compared to what U.S. theater chains pull in. 

🍿 U.S. Theater Chains Quietly Launching Their Own Subscriptions 

MoviePass isn’t alone. Major U.S. theater chains like AMC, Cinemark, and Regal (think of them as the U.S. versions of CGV or Megabox) have rolled out their own subscription services. 

And these guys are no small fry—some pull in over 4 trillion KRW annually. AMC alone makes over 6 trillion KRW. 

AMC’s plan is $20–$23/month, letting you watch 3 movies a week. It already has over 860,000 subscribers. Cinemark offers 1 ticket/month for $8.99, plus popcorn discounts.  Regal has an almost-unlimited plan for $21–$26/month, though there are some location restrictions. 

💡 Subscriptions Don’t Dominate Yet—but They're a Smart Long Game 

Currently, subscriptions only make up about 5–10% of total revenue.  But here’s the thing—it’s not just about cheaper tickets. These programs aim to increase customer loyalty. 

Subscribers are more likely to come back, and when they do, they also buy popcorn, drinks, merch, etc. It’s a full-package revenue model—less about ticket sales, more about turning moviegoers into regulars. 

📽 The OG Movie Subscription? France Did It First—and Did It Right 

Now let’s look at France, where subscription models didn’t just pop up—they became the standard.  Since the early 2000s, French theater chains like UGC and Pathé have offered subscription passes. For €17–€37 a month (~25,000–55,000 KRW), you can watch unlimited movies at partnered theaters. 

Yeah, unlimited. You usually need a 1-year contract, but in France—especially among students and film buffs—it’s considered a must-have. 

UGC's annual revenue in 2024 is around 900 billion KRW, and Pathé’s is about 1.45 trillion KRW. Reports say over 20% of that comes from subscriptions.  In France, this model isn’t niche—it’s the norm. 

🎞 A Win for Indie Films Too—Subscriptions Help the Whole Industry 

What’s really cool? This model isn’t just good for viewers—it helps the entire French film industry.  More diverse and indie films get screen time, and with overall attendance up, small studios and art films get to thrive too. 

In France, going to the movies is part of the cultural lifestyle. It’s not “I’m bored, let’s catch a flick,” it’s “I’ve got this week’s movie lined up.”  That culture is what makes subscriptions thrive there. 

🎬 The Trend Spreads—UK and Germany Follow Suit 

Seeing France’s success, countries like the UK and Germany followed suit.  In the UK, “Odeon Limitless” is run by major theater chain Odeon—it’s basically their version of the French model. It took off quickly, especially with the UK’s strong cinema-going culture. 

Germany is also jumping in, with major theater chains introducing similar models. In general, European audiences are pretty chill about subscriptions, and they see theaters more as cultural spaces, so adoption has been fast. 

🤔 So... Why Doesn’t Korea Have This Yet? 

Good question. Subscription models are definitely being discussed here.  Korea’s theater business is clearly in trouble and needs something fresh. But… there’s a reason why it hasn’t happened yet. 

And that’s a whole other story. So stay tuned for part two!