These Are the Theaters That Have Pulled The Interview After Threat

An increasing number of movie theaters and chains are deciding not to show Sony Pictures Entertainment’s The Interview, following a threat believed to come from the same group claiming responsibility for a devastating hack against Sony.

The Regal, AMC, Cinemark and Carmike theater chains won’t show The Interview until federal law enforcement groups finish their investigation of the threats made against the film, the Wall Street Journal reported citing anonymous sources Wednesday. Those chains control nearly half of the movie screens in the U.S., according to the Journal.

NBC News previously reported that Carmike had decided to pull the plug on The Interview. Deadline reported late Tuesday that California’s ArcLight Cinemas, which runs five theaters across the state, also won’t show the film, but a spokesperson later said no official decision had yet been made.

Meanwhile, Landmark Cinemas has cancelled The Interview’s New York City premiere, which was set for Thursday evening. That cancellation comes as the film’s co-stars, Seth Rogen and James Franco, already backed out of several media events around the films.

The threat, which may or may not have come from the same people who hacked Sony Pictures, intimated at the possibility of attacks on theaters that choose to show the movie, a completely fictional comedy about journalists recruited by the CIA to assassinate Kim Jong Un. “We recommend you to keep yourself distant from the places at that time,” read the message, with “the places” apparently referring to theaters showing the film. The message also invoked the attacks of Sept. 11, 2001.

While Sony is at this point going ahead with the film’s Christmas Day release, sources told NBC News that the company won’t punish theaters that back out. The Department of Homeland Security, meanwhile, has said there’s no “credible intelligence” regarding an attack on movie theaters in the U.S.

The threat also coincided with a new release of Sony employees’ emails, several weeks after hackers breached Sony Pictures’ systems and posted troves of company and employee confidential data online. Early reports linked the hacks to North Korea, which is reportedly furious over The Interview’s plot about killing the North Korean leader. However, North Korea denied conducting the attack, and the little evidence thus far tying the country to the incident is circumstantial.

The total fallout of the Sony attack is still incalculable, but it could amount to the most damaging corporate cyberattack in history.

The Most Controversial Films of All Time

The Interview, 2014 The James Franco-Seth Rogen movie hadn’t even been released when it made its greatest impact. The Interview, about two Americans on a mission to kill Kim Jong-un, has sparked conversations about the tastefulness -- or not -- of depicting the killing of a foreign head of state. But it also is widely seen as having sparked the Sony hacking scandal, as the hackers, known as the Guardians of Peace, have urged Sony not to release the film. The ripple effect of the email hack saw off-color remarks about Angelina Jolie, Aaron Sorkin, and President Obama between Sony executives go public.

Columbia

Birth of a Nation, 1915 Birth of a Nation is held in high esteem as one of the most ambitious and innovative early films. It has also, in the near-century since its release, been derided for its use of blackface to depict black men as sexually rapacious and its characterization of the KKK as heroes. Is it possible to admire a film’s technical excellence while acknowledging that its content is deeply offensive? Many film scholars, who point to Birth of a Nation as part of the foundation of modern film, believe so.

Hulton Archive/Getty Images

The Great Dictator, 1940 Charlie Chaplin’s lampooning of Hitler came before the U.S. was necessarily ready to hear it -- the country hadn’t yet entered World War II yet. The Great Dictator was controversial both for its advancement of anti-Hitler rhetoric and, at the same time, its turning Hitler into a figure of comedy.

United Artists/Getty Images

The Lost Weekend, 1945 Billy Wilder’s frank depiction of alcoholism, anchored with a tragic performance from Ray Milland, was startling for its time. Though it won several Oscars and the Palme d’Or, it had been, before its release, far from a sure thing. The success of The Lost Weekend allowed for fuller depictions of social issues on film, even though it could be uncomfortable.

Paramount/Getty Images

Lolita, 1962 This film was perhaps the first of director Stanley Kubrick’s to directly court controversy; the poster famously asked “How did they ever make a movie of Lolita?” and the question was very much worth asking. Lolita, the novel, is a strange and surreal look at an older man’s obsession with “nymphets,” or young girls; the film manages to carry across the same subject matter, though Lolita herself was aged up to avoid outright banning.

MGM/Getty Images

Bonnie and Clyde, 1967 Arthur Penn’s depiction of the short, glamorous lives of two bank robbers kicked off the New Hollywood era and scandalized audiences with its over-the-top violence. Bonnie and Clyde made its subjects look like, well, movie stars -- and then killed them in a brutal, seemingly endless hail of gunfire.

Silver Screen Collection/Getty Images

A Clockwork Orange, 1971 Stanley Kubrick’s adaptation of Anthony Burgess’s dystopian drama features shocking sex and violence, to the degree that the film was restricted within the U.K. for decades. Its central notion, of behavioral therapy as a force for evil, has also provoked debate since the film’s release.

Michael Ochs Archives/Getty Images

Kramer vs. Kramer, 1979 This domestic drama, starring Dustin Hoffman and Meryl Streep as a couple whose marriage ends, was upfront about the challenges of raising children and the degree to which married life could be fundamentally unsatisfying.

Columbia/Getty Images

Basic Instinct, 1992 This film made Sharon Stone, for a brief time, one of the most compelling movie stars on Earth. Her role as the voracious novelist and serial killer Catherine Tramell outraged gay audiences who viewed her as a homophobic stereotype, and spooked some men who were unaccustomed to Stone’s forthright sexuality. Either way, no one could stop talking about Catherine, or about Stone.

TriStar/Getty Images

Eyes Wide Shut, 1999 Stanley Kubrick’s final film was perfectly in keeping with his careerlong interest in provocation. Eyes Wide Shut depicts a seamy New York underworld in which just about everyone is looking for sex, power, or both. Though the film’s graphic sexuality (including a scene at an orgy) was shocking, it was its depiction of the act of love as a transaction that really unsettled audiences.

Warner Brothers/Getty Images

Requiem for a Dream, 2000 Darren Aronofsky’s breakthrough film, based on the work of Hubert Selby, Jr., was unabashed in its depiction of drugs’ effects. Each of the four principal characters suffers, brutally, for his or her addiction, culminating in one character’s psychotic break, another’s amputated arm, and a third’s descent into prostitution. The film’s miserabilist outlook, graphic sex, and body-horror imagery are as effective an antidrug campaign as exists.

Artisan Entertainment

Fahrenheit 9/11, 2004 The 2004 presidential election was ugly to an unprecedented degree, with attacks on John Kerry’s service from the right’s Swift Boat Veterans for truth and this documentary-length Molotov cocktail tossed at George W. Bush from director Michael Moore. Moore, who’d previously been booed at the 2003 Oscars for an anti-Bush speech, mixed together insinuations about voter fraud in Florida and ties between the Bush and bin Laden families into an antiwar statement. In its sheer provocation and palpable anger, it was the perfect film for its polarized time; the fact that it was received very differently by audiences of different political persuasions seemed somehow apt.

Lionsgate

The Passion of the Christ, 2004 This film, depicting the torture and eventual death of Jesus, was one of the biggest hits of all time. But it hadn’t necessarily had a clear path to acclaim; pre-release, the film was pilloried for perceived anti-Semitism. As audiences flocked over the weeks preceding Easter, some criticized director Mel Gibson for an excessively violent and sadistic vision of Jesus’s death.

Newmarket

Borat, 2006 Sacha Baron Cohen’s depiction of a Kazakh immigrant interacting with real people stateside showed America in a terrible light; it was hilarious, painful viewing. But for months after the film’s release, questions over just how fair Borat had been to its participants persisted. And Baron Cohen’s career continued to push boundaries of taste, with subsequent movies lampooning gay men (Bruno) and Sub-Saharan African heads of state (The Dictator).

20th Century Fox

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Read next: 3 Reasons People Think North Korea Hacked Sony

Write to Alex Fitzpatrick at alex.fitzpatrick@time.com.