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Cinemas - UK - December 2018 - The Consumer – What You Need to Know
No change in overall cinema visitors in 2018
Over two thirds of people say they visited a cinema in the last 12 months, unchanged from Mintel’s Cinemas – UK,
November 2017 Report. However, the proportion visiting individual cinema chains is slightly down across the board from
last year. Together this suggests that people are visiting fewer different chains.
Young people continue to be cinema’s largest demographic
The key demographic predictor for cinema visiting is age. Cinema visiting is at 89% penetration amongst people aged
16-24, and this declines uniformly with age to 41% of over-65s. The appeal of cinema to young people, particularly
under-18s, is likely a response to fewer activities available to do outside of the home.
2D dominates screening options
Despite heavy investment in new PLF screens, Mintel data shows that the large majority, 80%, opted for a 2D screening
on their most recent visit. Just 8% say they saw a 3D film, 5% saw an IMAX screening and 2% IMAX 3D. However, it’s likely
that for IMAX and IMAX 3D these figures are likely constrained by the availability of these screenings; as cinema operators
expand the number of screens we can expect this proportion to increase.
Regular viewers more likely to watch premium screenings
People who go to the cinema once a month or more are significantly more likely to have watched a premium screening on
their last trip. Some 14% of this group watched a 3D film, whilst another 14% saw some combination of IMAX, IMAX 3D or
4DX.
Mobile booking matches PC bookings
Whilst the overall proportion booking online has remained largely the same from 2017, there has been a shift in the
devices people use to do so. Some 18% of people say they booked their last cinema ticket on a mobile device, equalling
the 18% who booked on a PC or laptop. In comparison, in Mintel’s Cinemas – UK, November 2016 Report the split was
27% booking on a PC/laptop and 8% on a mobile device.
Six in 10 had a discounted ticket for their last trip
Redemption of discounts on cinema tickets is high, with 58% of people’s most recent booking having some form of
discount applied. The largest of these was the use of age or group discounts, at 18%, and is likely due to the range of
age-related prices available. Off-peak and special deals are also effective, with at least one of them applying to 30% of
bookings.
Booking fees impacting booking choices
Booking fees may impact the way people engage in booking processes. Some 62% of cinema-goers say they are put off
booking online because of booking fees, and amongst those who booked their last cinema ticket at the box office this
rises to 72%. It appears that people are opting to wait to book until they get to the box office because they want to avoid
these booking fees.
Discounts a key factor in choosing a new cinema
TURF (Total Unduplicated Reach & Frequency) analysis shows that in order to make 87% of cinema visitors go to a cinema
other than the one closest to them, cinemas should focus on film availability, discounts, comfort, screening times and
price (before any discounts).

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Blockbusters the main beneficiary of high ticket prices
Over two thirds, 71%, of people say the high ticket price of the cinema puts them off going to the cinema as regularly as
they’d like. Critics of these prices suggest that smaller films suffer as people choose to only see sure-thing blockbusters.
This response from consumers comes despite 58% of people applying discounts to their most recent ticket booking,
though people may not conflate the two when thinking about how much cinemas cost.
Of course, cinema operators argue that a trip to the cinema is still relatively cheap compared to any other full evening’s
activity. Considering the average spend per person is around £10, and it gives a few hours’ entertainment, they are
reasonably justified in this claim. However, people’s perceptions are based around various factors including previously
cheap prices, the high mark-up on food and the other ways they watch films that are far cheaper.
“I only see BIG movies at the cinema these days because of the price. So, generally, superhero or comic book
movies.”
-Male, 55-64, DE
“I think there is usually a good range of films for all ages. It would be nice to see more kids’ films released. It would
be easier to go to the cinema more often if it wasn't so expensive.”
-Female, 35-44, AB
FIGURE 27: Cinema-goers’ behaviours, October 2018
“Do the following statements apply to you?”
Base: 1,338 internet users aged 16+ who have visited the cinema in the last 12 months
Source: Lightspeed/Mintel

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Diversifying cinema offerings
New screening types generating interest
Screenings in 3D offer an important revenue opportunity beyond the base ticket price, and have been effective in recent
years due to their wide availability. However, as 3D releases and revenue have been slowly declining over the past few
years (see Market Segmentation), cinemas are looking for alternative streams that will allow base ticket prices to remain
stable.
Premium seating areas have become commonplace in certain cinemas, and some operators go further by offering a full
VIP experience that includes recliner seating and a private bar. Some 34% of cinema-goers say they would pay more for
this type of experience, and this rises to 44% of people who go to the cinema regularly – at least once a month. The
Picturehouse chain from Cineworld aims to appeal to people looking for this sort of experience, whilst Odeon is
attempting to incorporate this sort of experience into its larger theatres by expanding its “Luxe” brand.
In addition, operators are increasing the availability of IMAX and other large-screen formats around the country. More
unusual screens are also appearing such as ScreenX, and over a quarter of cinema-goers say they would pay more to
experience this ultra-widescreen option. Whether this has sustainability or may simply be a short-lived gimmick remains
to be seen as more people experience it, but it is at least generating interest. This is particularly the case amongst more
regular cinema-goers, of whom 43% say they’d pay more to watch a film in the format.
Alternative experiences
As discussed in the Launch Activity and Innovation section, the Secret Cinema immersive experience sent the 1996 film
Romeo + Juliet to the top 10 of the weekend box office charts. Mintel consumer data shows 50% of cinema-goers like the
idea of an alternative cinema experience, suggesting the format may see more success in the future.
However, this type of experience is more suited to one-off events for films that already have a large following, and is
therefore likely to be unsustainable for cinemas looking for a consistent revenue stream. Furthermore, there are high
production costs involved with these events and high ticket costs, meaning the risk of such events is likely to be
unacceptable to most operators. Whilst some chains experiment with alternatives to normal film screenings, these are
typically smaller venues that are more suited to multipurpose activities. For a multiplex to put on similar productions to
Secret Cinema would require large investments, and would also likely disrupt revenue from traditional screenings.
Booking fees impacting booking choices
As discussed in the Cinema Booking section, online booking has seen modest increases, though there has been a dramatic
increase in people buying tickets on mobile devices. Online booking is preferable to cinema operators because they are
able to charge booking fees that are not subject to the same revenue sharing seen for box office takings.
However, booking fees may impact the way people engage in booking processes. Some 62% of cinema-goers say they are
put off booking online because of booking fees, and amongst those who booked their last cinema ticket at the box office
this rises to 72%. It appears that people are opting to wait to book until they get to the box office because they want to
avoid these booking fees.
Furthermore, the addition of a booking fee may negate the promotional effects of discounting and special offers. This can
be counteracted by ensuring any promotions can be redeemed at the box office as well as online, but having this fee may
still deter a casual visitor who is only attending because of the opportunity to apply a promotion.
“I do like getting cinema tickets online to my home address or collect at the cinema as it saves long time queuing up
and having to stand for long periods of time.”

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-Female, 55-64, DE
“I always book and purchase cinema tickets online. That way I can pick where I would like to sit and there is always a
queue at the cinema booking office with an online purchased ticket I just walk past the queue.”
-Male, 45-54, C2
“I like the convenience of buying online but I resent the booking fee. Therefore, I mostly wait a week and buy tickets
at the box office.”
-Male, 55-64, DE
Half of cinema-goers buying food and drink
Mintel’s consumer data shows 51% of cinema-goers regularly buy food and drink at the cinema. This data reflects the
important contribution retail sales have on cinema operator revenue. Indeed, the most regular cinema visitors are
particularly likely to say they spend money here, rising to 63% of monthly visitors. Food and drink at the cinema is
evidently a vital part of the cinema experience, particularly for the most avid cinema fans.
There is some concern that online ticket booking may change the dynamic of a person’s journey through the cinema
lobby – a person who has already got their ticket may arrive late and simply bypass the concessions counter. Mintel’s data
suggests that this may not be an issue, and that advance booking may actually promote concessions purchasing. Those
who report booking their last ticket in advance are more likely to say they usually buy food and drink at the cinema than
those who don’t. However, it should be noted that this may be indicative of some other variable – we suggest that
advance bookers, particularly those booking offline in advance, are some of cinema’s most keen fans and might be regular
retail purchasers regardless of the booking method.
FIGURE 28: Usually buying food and drink at the cinema, by booking method most recently used, October 2018
“I usually buy food and drink at the cinema.”
Base: 1,257 internet users aged 16+ who booked their latest cinema tickets and know the way they were booked
Source: Lightspeed/Mintel
“You can't go to the cinema and not munch on something. For us it’s always a big bucket of popcorn but that’s the
only thing we will buy. Everything else, chocolate, crisps, drinks and sweets are all bought before we go in. You need
a mortgage to buy their stuff.”
-Female, 18-24, AB

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“I most of the time eat before elsewhere outside of the cinema because their prices are far too expensive for my
budget. I do like now and again to have some nachos sold in the cinema or a carton of coke, but prefer to take my
own sweets inside the cinema as most people do as the prices are far too high.”
-Female, 55-64, DE
“I usually get a drink, but I think the prices are too high. We usually go somewhere to eat either before or after the
film as the food in cinemas is too expensive for what you get.”
-Female, 45-54, C2
“I do [buy food or drink at the cinema]. Usually it’s just some popcorn. It just doesn't feel right, watching a movie
without some popcorn on the side.”
-Male, 18-24, DE
#MeToo increases scrutiny on Hollywood
As discussed in the Market Segmentation section, brand safety is a concern for all advertisers. This also applies to cinema
advertising, and any controversies in this area may affect brands’ willingness to advertise on the platform.
The #MeToo movement is rooted in the film industry, though it has since expanded to other areas of performing arts,
politics and business. Scrutiny on the industry has seen studios make extensive re-shoots, change casts and employ new
directors.
This issue is prominent to the public, and any missteps here have the potential to damage a film’s reputation before it is
even released. Mintel’s consumer data suggests that films are right to be cautious – one in five people say they are less
inclined to go to the cinema as a direct result of controversies in the film industry. This rises to 28% of monthly
cinema-goers, suggesting it is even more of an issue amongst those most invested in cinema.
TURF (Total Unduplicated Reach & Frequency) analysis identifies the mix of features, attributes or messages that will
attract the largest number of unique respondents. It is typically used when the number of features or attributes must be
or should be limited, but the goal is still to reach the widest possible audience. By identifying the Total Unduplicated
Reach, it is possible to maximise the number of people who find one or more of their preferred features or attributes in
the product line.
The resulting output from TURF is additive, with each additional feature increasing total reach. The chart is read from left
to right, with each arrow indicating the incremental change in total reach when adding a new feature. The final bar
represents the maximum reach of the total population when all shown features are offered.
Discounts a key factor in choosing a new cinema
“Which of the following, if any, would influence your decision to go to a cinema other than the closest one to you?”
People often visit the cinema closest to them as a matter of convenience, and need a particular incentive to travel further
to an alternative venue. This TURF analysis attempted to identify the key factors that might influence this decision. The
data shows that in order to make 87% of cinema visitors go to a cinema other than the one closest to them, cinemas
should focus on film availability, discounts, comfort, screening times and price (before any discounts).
Film availability is the most influential factor, but is not one that differs particularly between larger cinema operators.
However, for smaller operators with fewer screens it is vital they show films that appeal to the largest and most
appropriate audience. As discussed in the Market Drivers section, a data-driven approach to programming is increasingly

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becoming relevant but may be out of reach of smaller chains. As a result, the UKCA is investing in a shared programme
that aims to provide the benefits of data processing and artificial intelligence to its members.
The next most important factor is available discounts, which when combined with film availability results in a 22%
increase in the proportion of people who would travel to another cinema. As discussed in the Cinema Booking section,
ticket discounts were applied in 58% of people’s most recent booking. The prevalence of reduced price tickets has made
discounting an essential part of cinema promotion. Some, like Meerkat Movies, are multi-operator discounts and
designed to encourage visitors on days that would otherwise see low admissions. However, others, like Vue’s Super
Mondays, are standout promotions that are helping to increase market share and encourage visits on low-attendance
days to its specific sites.
To bring the proportion up to 80%, comfortable legroom is the next most important factor. Cinema operators are
investing heavily in this area, improving comfort in their theatres to ensure this is not a factor for people to go elsewhere.
This can vary from simply slightly more comfortable seating, to full recliners and paired sofa-seats that offer living
room-esque seating arrangements.
“The one thing I wish my local cinema had is comfort seating, I'm not talking VIP seating full reclining or anything like
that, just something that is actually comfortable to sit in for a couple of hours.”
-Female, 18-24, AB
FIGURE 29: TURF Analysis – Influencing factors to visit cinemas further away, October 2018
Base: 1,338 internet users aged 16+ who have visited a cinema in the last 12 months
Factors Total reach Incremental
% %
Film availability 51 NA
Discounts available 73 22
Comfort (eg legroom, recliners) 80 7
Screening times 84 4
The full ticket price before any discounts 87 3
Screen size 88 1
Proximity to restaurants/shops 89 1
Independent rather than chain cinema 90 1
Range of food and drinks 91 1
Source: Mintel