US exhibition market, mapped
Largest Movie Theater Chains in the US: 5,800 Sites, Top 3 Hold Roughly 20%
By US site count, AMC, Regal, and Cinemark run roughly 1,153 of the 5,800 movie theaters in the country. Marcus, Alamo Drafthouse, Harkins, and the next mid-tier are where the next five years of consolidation actually sits.
The market, in three numbers
A long tail the deal-flow headlines keep missing.
are below the top 10 chains
Roughly 4,425 of the 5,800 US theater sites belong to regional circuits, single-location independents, art houses, and drive-ins. One owner, one license, one popcorn supplier.
share held by AMC, Regal, and Cinemark
The three public majors combined run roughly 1,153 of the 5,800 US sites. They hold a larger share of total screens because the majors run bigger multiplexes than the regional circuits.
share held by the top 10 chains
Add Marcus, Alamo Drafthouse, Harkins, Malco, B&B, Emagine, and UEC and the top 10 reach roughly 1,475 sites. That is the consolidated half of the map.
Sources: NATO 2024 census for the 5,800 universe count. Site counts per chain from Orbital classifier (June 2026 snapshot), Cinemark 10-K 2024, Cineworld Group filings, and Marcus Corporation 10-K 2024.
Methodology
Why our movie-theater count moves and the published estimates do not.
Exhibition has a clean trade-body universe count (NATO publishes the 5,800 site figure annually) and a clean public-filing chain count (AMC, Cinemark, IMAX, and Marcus Corporation all report site counts in 10-K filings). What does not exist in any one place is a site-by-site map that joins those two views and adds the operator contact. That is the job here.
How the 5,800 figure is built
- Start with NATO's US universe. The National Association of Theatre Owners 2024 census reports 5,800 active US exhibition sites. We anchor on that number rather than back-computing from our own classifier, because the classifier rolls broader leisure categories together (bowling, arcades, family entertainment centers) and would over-count.
- Filter the classifier to movie-theater brands only. Our underlying market is Family Entertainment, Casinos and Gaming. We then apply a theater-curated brand-list filter to isolate exhibition operators and drop everything else (Chuck E. Cheese, Urban Air, Sky Zone, Topgolf, Round1, Bowlero, Main Event, Dave and Buster's all sit on a different map).
- Resolve each site to a real operating business. An AMC multiplex in a REIT-owned property is a different procurement seat than the REIT (EPR Properties is the dominant Regal landlord; AMC leases from a mix of commercial REITs; the operator signs the vendor contract).
- Roll up the chains, carefully. Regal, Cinemark, Marcus, Harkins, Malco, B&B, Emagine, and UEC all roll cleanly. AMC under-counts in our raw resolver due to operator-subsidiary LLCs; we apply the publicly disclosed AMC 10-K 2024 figure as an override and footnote it on the table.
- Drop the wrong rows. IMAX is a B2B licensor of premium-format screens, not a theater chain. Bowlero, Urban Air, and Sky Zone are entertainment, not exhibition. They live on a future sister page covering family entertainment centers.
- Find the operator. For independents and regional circuits, the buyer is the named operator or programming director. We surface that contact with a verified email and a direct dial. The Hollywood Reporter does not publish that. Variety does not either.
- Refresh on a rolling schedule. June 2026 is the snapshot. The Alamo Drafthouse acquisition by Sony Pictures Entertainment closed in June 2024 and the parent column moved that month. Cineworld's Regal restructuring in 2023 closed roughly 39 US sites; the table on this page is post-closure.
Want the source breakdown for a specific state, metro, or format (IMAX, premium large format, dine-in)? Ask. We do not hide the working.
By state
Where the US theater sites actually concentrate.
California, Texas, Florida, and New York hold roughly 30 percent of US movie theater sites between them. The share lines up with population, with a small skew toward states that have either dense suburban multiplex stock (Texas, Florida) or established art-house cultures (New York, California).
| # | State | Share of leisure-sector locations | Read |
|---|---|---|---|
| 1 | California | 9.84% | Largest market; LA studio proximity supports premium-format roll-outs |
| 2 | Texas | 8.63% | Cinemark home state; strong suburban multiplex stock |
| 3 | Florida | 6.72% | Tourism plus year-round attendance lifts site density |
| 4 | Illinois | 6.38% | Chicago metro anchors; AMC and Regal both heavy |
| 5 | New York | 4.90% | Art-house and Alamo Drafthouse footprint heaviest here |
| 6 | Pennsylvania | 3.62% | Mix of AMC, Regal, and Malco in the western half |
| 7 | North Carolina | 3.29% | Regal-heavy; growing Marcus presence |
| 8 | Ohio | 3.24% | Marcus and AMC; Emagine entering the market |
| 9 | Nevada | 2.92% | Regal Las Vegas concentration; Galaxy and Brenden mid-tier |
| 10 | Michigan | 2.84% | Emagine Entertainment home state |
| 11 | New Jersey | 2.59% | AMC dominant; high-margin metro NYC overflow |
| 12 | Georgia | 2.48% | Georgia Theatre Company home state; AMC anchors Atlanta |
| 13 | Virginia | 1.96% | Mix of AMC and Regal; growing Cinemark presence |
| 14 | Louisiana | 1.92% | AMC and Regal; some regional independents |
| 15 | Tennessee | 1.91% | Malco home state; Memphis HQ concentration |
Share percentages reflect the underlying leisure-sector classifier (Family Entertainment, Casinos and Gaming) before the movie-theater-only brand filter. The state ranking holds when restricted to exhibition sites; the percentages shift down. Source: Orbital classifier, June 2026 snapshot.
The top ten chains
Largest US movie theater chains by site count.
Three majors, seven regional circuits, and one studio-owned operator. AMC, Regal, and Cinemark run roughly 1,153 of the 5,800 US sites. The next seven add another 322 or so. The other 4,325 sites belong to regional circuits and independents below the top 10.
| # | Chain | US sites | Parent / note |
|---|---|---|---|
| 1 | AMC Theatres | ~570 | AMC Entertainment Holdings (NYSE:AMC). The largest US exhibitor by both sites and screens. Site count per AMC 10-K 2024; our raw chain-resolver returns 83 due to operator-subsidiary LLC rollup limitations, so we apply the 10-K figure as the published total. |
| 2 | Regal | 324 | Cineworld Group plc. Regal entered Chapter 11 in September 2022 and exited via restructuring in July 2023; the chain closed roughly 39 US sites during reorganization. EPR Properties is the dominant landlord across the Regal footprint. |
| 3 | Cinemark | 259 | Cinemark Holdings (NYSE:CNK). Headquartered in Plano, Texas. The only major to avoid bankruptcy during the 2020 to 2023 cycle. Strong Texas, California, and Latin America footprint. |
| 4 | Marcus Theatres | 47 | The Marcus Corporation (NYSE:MCS). Headquartered in Milwaukee. The largest mid-tier circuit, with hotel and theater divisions. Aggressive on premium large format and dine-in formats. |
| 5 | Alamo Drafthouse | ~40 | Sony Pictures Entertainment subsidiary (acquired June 2024). The first major studio acquisition of a US theater chain since the Paramount Consent Decrees lapsed in 2020. Concentrated in Austin, New York, and the West Coast. |
| 6 | Harkins Theatres | 28 | Privately held by the Harkins family. Headquartered in Scottsdale, Arizona. Heavy Phoenix metro concentration. Known for the Cine Capri large-format brand. |
| 7 | Malco Theatres | 25 | Privately held by the Lightman family. Headquartered in Memphis. Concentrated across Tennessee, Arkansas, Mississippi, Kentucky, and Missouri. Family-run since 1915. |
| 8 | B&B Theatres | 22 | Privately held by the Bagby and Bills families. Headquartered in Liberty, Missouri. The Midwest and Mid-Atlantic regional circuit most actively rolling up closed sites from the bankruptcy cycle. |
| 9 | Emagine Entertainment | 22 | Privately held; co-founded by Paul Glantz. Headquartered in Troy, Michigan. Heavy premium-format and food-and-beverage focus. |
| 10 | UEC Theatres | 22 | United Entertainment Corporation. Privately held. Concentrated in the Southeast and Mid-Atlantic. Operates under the UEC Movies banner and the Premiere Cinema co-brand in some markets. |
| * | Honorable mention: Landmark Theatres | 20 | Cohen Media Group owned. The largest US art-house circuit. Sits just outside the top 10 by site count but punches above its weight in specialty box office. |
| * | Honorable mention: Georgia Theatre Company | 20 | Privately held. Southeast regional operator. Atlanta and Savannah concentration. |
| * | Dropped: IMAX | 23 (B2B) | IMAX is a B2B licensor of premium-format auditoriums (the IMAX-branded screens inside AMC, Regal, and Cinemark sites). Not a theater chain. Listed in the raw data; excluded from this ranking. |
| * | AMC chain-resolver override | 83 raw / ~570 corrected | Our chain-resolver returns 83 AMC-branded sites because some AMC locations file under operator-subsidiary LLCs that do not auto-roll to the AMC parent. The corrected total uses AMC's 2024 Annual Report (10-K) site count and is flagged in the export so your team can see both the resolver floor and the parent-adjusted total. |
As of June 2026, US open sites. Counts reflect Orbital's location graph plus the AMC 10-K 2024 override. Drive-ins, art houses below 5 sites, and single-screen independents are mapped in the export but not in this top-10 table.
Our take
The next five years of exhibition is mid-tier consolidation, not major-chain growth.
We believe
The next mid-tier circuit gets to 50 sites before AMC opens 5 more.
The theater business is structurally a real-estate game where REITs (EPR Properties for Regal, a mix of commercial REIT landlords for AMC) own the buildings and the operators sign long leases. The post-2020 mid-tier dying off (Cineworld Chapter 11, ArcLight closed, ShowPlace ICON closed) means the next 5 years will look more like the post-2008 banking sector: the survivors get bigger, but a new mid-tier emerges from circuit operators who quietly absorb 5 to 15 closed sites at a time. AMC plus Regal plus Cinemark sit at roughly 1,153 of 5,800 US theaters, around 20 percent, and the top 10 only reach ~25 percent. Marcus, Harkins, B&B, and Emagine are the mid-tier consolidation play.
If you are selling into exhibition, that is where your AE team should look. The majors have one procurement seat each and a long sales cycle. The mid-tier circuits have a single decision-maker, a real estate appetite, and the ability to add a vendor across 20 sites with one phone call. The independents below them are still 4,000-plus operators who write checks themselves.
Who buys this data
B2B vendors selling into 5,800 exhibition sites.
This page is for the teams selling into theater operators and circuit owners, not moviegoers. If you sell one of the categories below, you need the 200-odd regional VPs of operations who sign vendor contracts, not the three corporate procurement seats at the majors.
Ticketing and concessions software
Vista Cinema, Veezi, Movio, Omniterm, Spectra, and the next wave of POS platforms selling the upgrade off a desktop scheduler. The buyer is the regional VP of operations, not the corporate IT seat.
F&B suppliers and concessions distribution
Pepsi and Coca-Cola fountain partners, Gold Medal Products, Weaver Popcorn, ICEE, and the regional snack distributors selling the next case of popcorn salt and the next year of cup contracts.
Projection, screens, and sound systems
Christie, Barco, NEC laser projection, Dolby Atmos certification, RealD 3D, and the integrators selling the upgrade cycle from xenon to laser. The procurement seat sits with the chief projectionist and the regional facilities lead.
Pre-show advertising and screen-time brokers
National CineMedia, Screenvision, and the regional ad-sales houses selling pre-roll inventory across the long tail of independent screens that the national networks do not directly represent.
REITs, landlords, and exhibition real estate
EPR Properties (Regal's primary landlord), the mix of commercial REIT landlords underwriting AMC's footprint, and the regional commercial REITs underwriting suburban multiplex space. The operator contact is the lease counter-party.
Loyalty, mobile apps, and demand-side marketing
Movio loyalty, Atom Tickets, Fandango distribution partnerships, and the agencies selling SMS, email, and reputation services to operators who built their books on Friday-night word of mouth.
Lenders and exhibition-focused M&A advisors
Equipment lenders financing laser projection upgrades, working-capital providers bridging the post-bankruptcy reopening cycle, and the search funds quietly building lists against the 200-plus regional circuit operators.
Adjacent universes built the same way: the market insights index, the broader by-industry email lists, the sister largest US pest-control companies map, and the largest HVAC companies map for the trades family.
Plain-spoken
When the exhibition dataset is the wrong fit.
Do not buy this if any of the following are true.
You only sell at the AMC, Regal, and Cinemark revenue tier. If your motion is one annual master agreement with the three publicly traded majors, you do not need a long-tail map of 5,800 sites. You need three relationships and a dedicated key account manager. Save your budget.
You sell content, not vendor services. Studios, distributors, and trailer-placement houses want the distribution-side map (which films play where, terms, percentage splits). That is the Box Office Mojo and Comscore Media Metrix lens, not the operator-contact lens.
Your sales motion only fires above $250k ACV. The 200-plus regional circuits and 4,000-plus single-location independents will not fit those unit economics. A two-screen art house in Brooklyn rarely writes a quarter-million-dollar annual check on day one. Come back when your AE team is hunting the next 200 regional circuits instead of the same three logos.
You need real-time programming or showtime data. That sits with Comscore and the exhibitor's own ticketing system. We refresh monthly, right for vendor prospecting, wrong for showtime feeds.
The honest version
Why most movie theater chains vendor data is wrong.
If you Google "largest movie theater chains in the US," the top result is almost always a 2018 Statista chart that hard-codes AMC, Regal, Cinemark, and "other" into four pie slices. Statista is excellent for the topline market-size lens. It is also static, and the field underneath the three majors has moved twice since 2020 (Cineworld restructured Regal out of Chapter 11 in 2023, Sony bought Alamo in 2024, ArcLight and ShowPlace ICON shuttered entirely).
Box Office Mojo and Comscore Media Metrix run the revenue and screen-count lens. That is the right view for studio distribution decisions and for tracking concentration of box office. It is not the right view for figuring out which 200 regional operators your AE team should call this quarter. The revenue lens flatters the public majors further than the site lens does. By US sites, the three majors run roughly 19.9 percent of the market. By US screens, they likely run closer to 50 percent, because the majors operate bigger multiplexes than the regional circuits. Both are true. For vendors selling kit, popcorn salt, or pre-roll inventory into operators, the site-count lens is the only one that maps to a sales territory.
The second problem is that enterprise B2B databases roll up by parent and lose the buyer. They show "AMC Entertainment Holdings" as one customer at the Leawood HQ and the ~570 AMC sites collapse into a single row. The actual buyer for most exhibitor vendor categories is a regional VP of operations, a circuit-level facilities lead, or an independent operator who never reports up to corporate procurement. Statista sees the market size. Generalist databases see the parent. The site-level view sees both.
This is the gap Orbital sits in. We anchor on NATO's 5,800 site universe, classify each location into exhibition (filtering out the bowling-and-arcade neighbors), find the operator or programming director for that site, and ship a verified contact before the conversation starts. What is specific to exhibition is the layer on top: chain affiliation, parent rollup (including REIT landlord where applicable), site format (IMAX, premium large format, dine-in, drive-in, art house), and the screen count where the operator publishes it. We are the site-count complement to NATO's annual census and Box Office Mojo's revenue view, not a replacement for them. NATO for the universe count, Box Office Mojo for revenue, Orbital for the operator on the other end of the phone.
Questions
Before you ask sales about exhibition data.
How many movie theaters are there in the US?
There are roughly 5,800 active US movie theater sites as of NATO's 2024 industry census. That figure counts physical exhibition sites, not screens. The US screen count sits closer to 39,000, because the average modern site runs 6 to 14 screens. About three-quarters of US movie theater sites are independents or small regional circuits below the top 10 chains.
How is Orbital's count different from NATO's?
We use NATO's 5,800 site figure as the hero number because NATO is the trade body for US exhibitors and counts sites cleanly. Orbital's contribution is the layer underneath: which specific 5,800 sites, who operates each one, what their parent or franchise structure looks like, and the named decision-maker on each independent. NATO publishes annually and tracks the totals. We refresh monthly and ship the contact.
Who is the largest movie theater chain in the US?
AMC Theatres at roughly 570 US sites is the largest by both site count and screen count, per AMC's 2024 10-K. Regal sits second at 324 sites (Cineworld Group restructured Regal out of Chapter 11 in 2023). Cinemark sits third at 259 US sites. The three majors combined run roughly 1,153 of the 5,800 US theaters, which is around 20 percent of the site count and a larger share of the screen count, because the majors run bigger multiplexes than the regional circuits.
How concentrated is US exhibition?
The top three chains (AMC, Regal, Cinemark) run roughly 1,153 of 5,800 sites, about 19.9 percent. Extend that to the next tier (Marcus, Alamo Drafthouse, Harkins, Malco, B&B, Emagine, UEC) and you get to roughly 25 percent. The remaining 75 percent is regional circuits, single-location independents, art houses, and drive-ins. Exhibition reads as consolidated in headlines because the majors hold most of the wide-release screens, but the site map is still long-tail.
Can I filter by state, metro, or chain affiliation?
Yes. The dataset is filterable by state, metro, ZIP, chain affiliation, parent company, and site features (IMAX, premium large format, dine-in, drive-in, art house). California, Texas, Florida, and New York together hold about 30 percent of US sites, so most vendors start with those four plus their named target metros. Tell us the cut you want when you request the sample.
How does Orbital handle AMC's site count when CSV-level data under-counts?
AMC under-counts in our raw chain-resolver because some AMC sites file under operator subsidiary LLCs that do not roll cleanly to the AMC parent. The 570 figure on this page is the publicly disclosed AMC 10-K 2024 site count, applied as an override on top of the raw resolver output. We surface both numbers in the export so your team can see the resolver floor and the corrected total. Regal, Cinemark, Marcus, Harkins, and Malco roll cleanly without overrides.
Where does Alamo Drafthouse sit after the Sony deal?
Sony Pictures Entertainment acquired Alamo Drafthouse Cinema in June 2024. It is the first studio acquisition of a US theater chain since the Paramount Consent Decrees lapsed in 2020. Alamo runs roughly 40 US sites under Sony's ownership and is operated as a subsidiary. For vendors selling into Alamo, the procurement seat sits with Alamo's operations team, not Sony's. We tag Alamo sites as Sony-owned in the parent column and keep the buyer contact at the operating-company level.
When is this dataset the wrong fit?
Three cases. First, if you only sell to enterprise exhibition buyers at the AMC, Regal, and Cinemark tier, you need three relationships, not 5,800 records. Second, if you sell content (films, trailers, ad inventory) to studios or distributors, you want the distribution-side map, not the exhibitor-side map. Third, if your motion fires only above 250,000 dollars in annual contract value, the long tail of regional circuits and single-screen independents will not fit your unit economics.
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