|
LILO & STITCH HITS THE $1 BILLION MARK
THE TIMES GETS BEHIND PHYSICAL MEDIA…
…”MOVE OVER STREAMERS… WE’RE BUYING DISCS AGAIN”
STUDIOCANAL’S NEW RAN AMONG THE PAPER’S TOP BUYS…
…AND YOUNG PEOPLE RETURN TO DISCS TOO
MICROSOFT DITCHES FILMS, TV FROM STORE
TRAFFIC LIGHTS UP THE BFI
RADIANCE AT CINEMA REDISCOVERED…
…AS COMPANY REVEALS OCTOBER SLATE
SIGNATURE PAINTS BRISTOL RED…
…AND GETS TOXIC…
…AS AVENGER READIES FOR RELEASE…
…AND SIGNATURE ALSO HEADS HOME
SINNERS IS A WINNER
WHAT HAVE YOU DONE TO THIS BLU-RAY?
APPLE'S EMMY NOMINATIONS HAUL
SPOTTED OUT AND ABOUT
SUPPORT THE RAYGUN
TRAILERS OF THE WEEK 
If you can't read this newsletter or see the ads, please click here.
It was a good week for… The media push returning to physical media continues, with the paper of record, The Times, now saying that discs rule (see below)…
It was a bad week for… With little warning, Microsoft “abruptly” stops selling films and TV through its PCs and Xbox devices…
We have been watching… Human Traffic on the big screen, newly restored and going down an absolute storm…
More from the theatrical world, as Disney has announced that its latest retooling of one of its classic properties, Lilo & Stitch, has now passed the $1 billion mark in receipts worldwide. It’s the latest landmark in this powerhouse property’s storied history, it’s taken over children’s lives in the 20 or so years and this latest iteration, a live action version, has become the latest feature in its cap. It’s the first release to hit this mark this year, with some $416.2 million of the total haul coming from US cinemas and $584.8 million from international. It’s the fourth Disney title to hit the magic billion mark in little more than a year, following on the heels of Moana2, Inside Out 2 and, at the opposite end of the spectrum, Deadpool & Wolverine. Disney Entertainment co-chairman Alan Bergman said, “We knew there was a lot of love for Lilo & Stitch with audiences around the world, yet we never take that for granted, and we’re proud of how this new film has connected with people. I’m thankful to our filmmakers, our cast, and all of our Studio team who have made this film such a success, and we look forward to more adventures with these characters ahead.” The original Lilo & Stitch animated title gave birth to a whole raft of sequels, spin-offs, DTV titles, series, as well as becoming a licensing behemoth, Disney has already announced a live action sequel, currently in development. The brand has been given a huge boost on Disney+ too, where more than 640 million hours of Stitch-related fare have been viewed globally.
We’ve been tracking the slow switch in many people’s attitudes to physical media in recent months here on The Raygun, as many journalists, critics and, heck, even members of the public have been professing their love for shiny discs, be they Blu-ray or DVD, over streaming and the likes and this week has seen a couple of further entrants. Where many in the media, especially the broadsheets, were once making statements over the past decade such as “who still buys DVDs?”, journalists now are much more inclined to profess their love for physical objects, films on disc and more. The latest evidence of this came on Friday July 18, with a major feature in The Times, on the front page of its T2 Arts section no less, with the headline “Move over streamers – we’re buying discs again” and a caption coming from Arnold Schwarzenegger’s Terminator, writ large across the front of the section, saying “I’ll be back, just like the DVD”. In a double page spread inside, under the headline and accompanying standfirst noting “Streamers are ruining cinema – bring on the DVD revival… Kevin Maher has more than a thousand DVDs — and he’s never getting rid of them. As young cinema lovers glow to physical products, it’s proof that Netflix and co don’t do justice to the magic of film”. (The online version is similar, with a slightly different wording), Maher goes on to talk about how he recommended his son watch Dances WIth Wolves, only to be told it was “unavailable”, so he gave his son a copy of the film on disc, launching into a tirade about “I hate streamers”. He outlines the reasons why – you can read it here but it’s about their attitude, as well as their licensing agreements – before noting ‘What I love, conversely, is DVDs. All the DVDs. The regular ones, the sharp and rich Blu-ray kind, and the newer and even sharper 4K UHDs (a screen resolution of 4,000 pixels). I love that they are real, they are tangible and that they are for ever. And, it transpires, I am not the only one.”
What was even more pertinent about The Times feature, and helpful in pushing consumers too, were extensive comments from industry figures about physical media and its resilience in the face of streaming competition. The BFI’s head of video publishing John Ramchandani told Maher: “Last year was our busiest year in five years. People are starting to wake up to the fact that when you buy the physical format it’s yours for life. And that’s not necessarily the case with digital platforms. People want to pick up, to own and to have that physical copy in their hands.” Studiocanal’s head of UK home entertainment and library John Rodden was also quoted, saying: “People want to experience film culture in the same way that, with music, they get into vinyl. They want to see films in cinemas, yes, but also experience those films in the home in great quality.” Maher discussed the quality of some recent Studiocanal, such as the excellent job done on Julie Christie 1960s starrer Darling, with Rodden further noting: “It can be shocking to modern audiences to see a moment that has been recaptured from a film’s original negative. It is presented in a way that is completely true to what was happening at the time. And the shock of realisation is almost like time travel.” Both Ramchandani and Rodden say one of the burgeoning aspects of the market is sales to young people, with the latter adding: “The biggest growth for new entrants into that market is young people. They are people who want to make connections between movies and work out how we got here in film culture, and where we are now.” As well as discussing how film talent is always pushing physical media – not least in the Criterion Closet Picks on YouTube, where they pick their favourite Blu-rays – Maher finishes with a parting shot from Studiocanal’s Rodden, who concluded: “It’s not long ago that you had to wait to see films on the TV. We just waited for them to be broadcast and that was it. We are blessed to have so much of film culture and film history available instantly. But equally, the idea that you can subscribe to Netflix or Amazon or several other platforms and have everything available to you at the touch of a button just isn’t true.”
The Times article finished with Maher’s top five (in the newspaper, six online) “DVD sets” (most are on Blu-ray, but in keeping with some other outlets, The Times appears to be using DVD as a catch all for DVDs, Blu-rays and 4K UHD). These includeThe Terminator 40th Anniversary Steelbook, Darling 60th Anniversary Edition, The Wizard of Oz, 85th Anniversary “Theatre” Edition, The Great Escape, limited edition, 8 1/2 and Ran. The latter was fortuitous timing for the new collector’s edition, marking the 40th anniversary of the film, is out on Monday July 21, the editorial keenly timed to aid the release. Maher said: “It’s basically King Lear but set in 16th-century Japan, and directed by Akira Kurosawa at his most lavish and visually sumptuous. The film’s budget, roughly $12 million, in 1985 made it the most expensive film in Japanese history. The collector’s edition comes with a 100-page booklet, two posters, the original CD soundtrack and bonus documentaries about Kurosawa, about the film’s cinematography and its legacy, as well as archive interviews with the director.” We couldn’t agree more, it’s another marvellous package from Studiocanal, and we’re not just saying that because The Raygun’s Tim Murray has written a feature on Kurosawa in the accompanying booklet.
There was more on the physical media world and its revived fortunes – we’re not calling it a revival for, as noted here previously and as various industry sages have said, for it to be a revival, sales of Blu-ray and the like will have to go further down first – over in the Daily Mail and its This Is Money offshoot. For the clever folk at reseller Gumtree have put together a survey talking to Britons about buying physical media and earned resultant coverage on This Is Money with its findings. It showed that 54 per cent of responders had bought physical media in the past year, with DVDs and CD the most popular (25 per cent had snapped these up), ahead of computer games (22 per cent) and vinyl (14 per cent). And as the report noted in its first paragraph, this us being led by Gen Z consumers, with 75 per cent of those aged 13 to 28 years old buying physical media in the last year. This is ahead of those aged between 29 and 44 years old (66 per cent), 45 to 60-year-olds (just over half) and 60 to 79-year-olds, with just 35 per cent of those buying physical media in the past 12 months. The reasons? Will, almost a third had said the feeling of being able to hold and own a physical item was key, whole others put it down to nostalgia for the 90s. Gumtree’s Kim Faura said; “The 1990s revival is more than a fashion moment – it’s changing how Britons consume media. The desire for the tangible and nostalgic is pulling people back to physical formats, from CDs to Walkmans.”
One of the biggest gripes many writing about the return of physical media have is the impermanence of buying digital content and the belief that despite purchasing it to keep, you never really own it, as it could be yanked at any point. And, just as we were penning these stories, Microsoft announced that consumers will no longer be able to buy film or TV product through their PCs and Xbox devices from the Microsoft store. There was no official announcement and no warning, rather the move was communicated via a statement and FAQs. “Microsoft no longer offers new entertainment content for purchase, including movies and TV shows, on Microsoft.com, Microsoft Store on Windows, and the Microsoft Store on Xbox. However, you can continue to access your purchased content in the Movies & TV app on Xbox or Windows device. Existing customers can continue to access their previously purchased content on Windows and Xbox devices… players can continue to play personal videos on Xbox devices. Windows customers can continue to have access to playback and the download functionality,” it continued. Although there were also warnings: “You cannot directly move your purchased content to another service. You will still be able to access and play purchased content on the Microsoft Movies & TV App. If you’re in the US, you can sign up for Movies Anywhere to connect select purchased movies with other Movies Anywhere retailers.” Consumers using other similar outlets that have subsequently yanked or shuttered services – Apple has shifted some of its offerings from iTunes to its TV app, Google discontinued its Google Play Movies and TV service – have noted they can still access them, although there are still fears. As PC Gamer noted: “it's understandable why some users might be worried about how long Microsoft will leave purchased content available. After all, there's very little users can do to prevent companies from effectively deleting digital content for any number of reasons.”
To the BFI on the Southbank, for the world premiere of the new 4K restoration of 1990s rave classic Human Traffic, which has been given a new lease of life the the BFI and is being released in 4K and Blu-ray on Monday July 21. John Ramchandani, fresh from being quoted in the Times (see above) kicked off the proceedings, making sure to eave a copy of the release around and remind the many there that this was out on Monday. The packed auditorium then heard from film critic, former raver and Raygun reader Mark Searby who spoke about the film and its impact on a whole generation of party animals on its original release more than a quarter of a century ago. “[The rave scene] embraced everybody from all walks of life,” he said. “You were pulled in, all these free minded people, all these souls who just wanted to have a good time without thinking what was going to happen on Monday, about going back to work. If you were dancing, if you were raving, then you were one of the collective. And Human Traffic does that, it shows that with this bunch of misfits. Justin Kerrigan perfectly filmed a weekend in the '90s, and that's what this film captures better than anything. It's about the 90s, it's about dance music, it's about living for the weekend, and it's about that hedonism as well. It's all about clubs, pubs, parties, drugs, and maybe a bit of paranoia as well.” The film went down a storm with the mixed, packed crowd, made up of those too young to experience it, those who did and, quite clearly those who probably did but can’t remember a thing about what happened. The release includes a video essay by Searby, alongside booklet contributions from The Raygun’s own Tim Murray, as well as the BFI’s Lou Thomas, Given that the film’s reputation was hugely enhanced as a home entertainment release – it was an after-party and post-rave comedown essential in the early days of DVD on its release by Metrodome – it’s fitting that it’s now been given such a fine treatment and acknowledgement by the BFI too.
Good to see independent labels and operators continuing to work with events, screenings and festivals to further promote their works. A case in point is the forthcoming Cinema Rediscovered festival taking place of five days in Bristol next week (July 23 to July 27), at the city’s indie cinema Watershed, as well as its recently reopened IMAX the Megascreen and, even more pertinently, 20th Century Flicks, one of the country’s last remaining rental stores. The latter will be hosting screenings in its bijou cinema screens within the store, showing the likes of The Evil Dead and Time Bandits. There’s plenty of classic cinema on show and Radiance will be among those whose fare is airing on the big screen, with showings of the recently released Themroc, as well as a title released for the first time in the UK on July 21, just days before it airs getting a UK premiere at Cinema Rediscovered, The Beast To Die, a rarely seen, on these shores, Japanese thriller given a new lease of life by its Radiance release. Another July 21 release, Rosa La Rose Fille Publique as well as a September release, Los Golfos, are also screening. The label will also be in attendance selling its wares at a pop-up stall at lunchtime at the event and around its screenings. The company’s Bruno Savill de Jong said: "We're really grateful to The Cinema Rediscovered team for their time and collaboration over their annual celebration of restorations and rediscoveries. Not only by showcasing several of our recent releases but also providing us space to display our products and interact with like-minded rep cinema fans. Such an event seems like a natural fit with our goal of championing underseen cinema and releasing new restorations. We are all very much looking forward to the festivities and the chance of introducing ourselves to enthusiasts both familiar and previously unaware of our label.”
Radiance has also unveiled its October releases, with a clutch of titles due from the company, which is pushing the spooky angle prevalent throughout the month, albeit with one piece of what it describes as “counter-programming. Radiance’s Bruno Savill de Jong, who said: “Halloween is approaching which puts particular attention on our October announcements, but we're very pleased with the reception of our new titles. With two separate Harry Kümel films - DAUGHTERS OF DARKNESS and MALPERTUIS - in rigid box casing, we are pleased to feature these iconic and idiosyncratic horror masterworks with new 4K restorations and Kümel's own oversight, including new interviews with him for each release. October also sees a second instalment of our popular DAIEI GOTHIC boxset, with three new lavish Japanese ghost stories brought to newfound attention. Also not to be overlooked, as a bit of counter-programming to such horror genre-fare, is the UK Blu-ray premiere of Truffaut's lovely POCKET MONEY which charmingly navigates the complexity of adolescence.”
Staying in Bristol, we mentioned the Forbidden Worlds Film Festival, a weekend long event held at the city’s Megascreen here in The Raygun recently, a very video friendly festival that aims to recreate the old rental store experience, working closely with the long-standing and still surviving rental store in the city, 20th Century Flicks. Organisers there are now hooking up with Signature ahead for a special screening of the distributor’s Red Sonja swordplay epic due on digital on August 18 and DVD and Blu-ray on September 8. Saturday August 16 will see a special screening of the film, loosely based on Conan creator Robert E Howard’s character later brought to life by Marvel Comics in the 1970s at the Megascreen. It will be attended by director MJ Bassett, with the event also featuring a Q&A with her and a screening of her previous Robert E. Howard adaptation Solomon Kane, with the star of that James Purefoy also in attendance. Signature’s Marek Pugh said: “We’re truly excited to have talented British director MJ Bassett’s epic fantasy reimagining of Red Sonja, with Matilda Lutz killing it as the titular lead. Forbidden Worlds and the Bristol Megascreen are the perfect partners to host this very special Q&A prior to release and you can expect some surprises, a fantastic insightful Q&A and thrilling cyclops action on a 20 metre screen.”
After last week’s FrightFest announcement, where Signature was revealed to be airing some of the horror and genre festivals biggest hitters over the five-day August bank holiday weekend in London’s Leicester Square, the company has revealed more about some of its plans for those films. One of its key FrightFest titles is The Toxic Avenger, the new remake of the classic Troma trash title from the 80s, a huge video hit back in the day, which has got a very 2025 update with original creator and Troma head honcho Lloyd Kaufman still involved. As well as its `FrightFest appearance, the film is also adoring at the Edinburgh International Film Festival in its Midnight Madness strand. Festival director Paul Ridd has described the film as "extravagantly gory and hilarious”, adding: "Peter Dinklage’s terrific reimagining of this iconic character in Macon Blair’s genius film, together make for an absolute blast of cult cinematic energy,” Signature’s acquisitions and development manager Kate Wilkinson added: "Genre fans can expect a crazy world of mutated maintenance men, killer chicken brutes and Elijah Wood as you’ve never seen him before. Peter Dinklage’s take on the Toxic Avenger will leave audiences forever changed by this fantastically unique hero story.” Both the FrightFest and EIFF screenings will provide the platform for the theatrical release of the film on August 29 and its eventual home entertainment bow, both of which are set to be lapped up by genre fans.
Signature has already kicked off its publicity and marketing campaign for The Toxic Avenger, with its stars and team behind it, with director Macon Blair, Peter Dinklage, Kevin Bacon, Taylour Paige, and producer Lloyd Kaufman all turning out for a major six-page feature in the August issue of Empire, and more set to follow – Signature said early reactions from press screenings have been "overwhelmingly positive, with critics praising the film’s bonkers energy, sharp humour, and off-the-wall creativity”. Signature’s Sab Astley said: “Since our initial UK and Irish deal announcement, the press interest for The Toxic Avenger has been positively radioactive, with key tentpole print milestones with Empire Magazine, SFX and Starburst Magazines already locked and set to roll-out over the next month. We are delighted to be championing Macon Blair’s darkly hilarious reimagining, and we look forward to bringing Toxie to Scotland for his UK Premiere at the Edinburgh International Film Festival next month with a grand reintroduction to cult film aficionados at FrightFest soon after.”
Signature is also planning the release strategy for one of its other big FrightFest releases in the shape of The Home, the curtain-raiser for this year’s event, a tale of an old people’s home where Max is sent to do community service (played by comic Pete Davidson) only to discover all is not what it seems. The film will appear on digital almost immediately after its premiere at the horror festival, landing on August 22, ahead of a DVD and Blu-ray just over a month later, on September 29. You can see the trailer here and Signature’s Cliff Green said: “This year we come to the festival with some incredible future hits for genre fans and the movie going public. We grabbed the prestigious opening night film slot with THE HOME starring Pete Doherty, from director James DeMonaco is an insane and relevant look at the world from both those cast aside by society for being past their prime and the young who appear to be wasting away in a world that doesn't understand them. Being a victim and being a survivor are two very different things and in THE HOME one man may just find wealth in discovering which side of the fence he falls. Prepare for amazing visuals, twists, turns and shocking scenes that will push viewers to the limit. The Home will be available to own from August 22 on Digital HD.”
This week’s big release, in stores from July 21 from Warner, is one of the key hits of 2025 – Ryan Coogler’s Sinners, the acclaimed vampire flick that has wooed – and wowed – audiences across the board on its way to more than £16 million in receipts, a phenomenal performance for a non-franchise film that seemingly came from nowhere. The physical release across DVD, Blu-ray and 4K sees the latter two coming complete with a raft of extras, including a Making Of and assorted featurettes featuring Coogler, star Michael B Jordan and more, not only covering production of the film, its score and more, but also offering up background about Hoodoo in America’s Deep South and how it informs the film. Given the reaction to the film, from both critics and audiences, Sinners has all the hallmarks of becoming a must-buy disc; many of its reviews suggested this, with the Los Angeles time saying: “What a blood rush to exit Ryan Coogler’s Sinners aware that you’ve seen not merely a great movie but an eternal movie, one that will transcend today’s box office and tomorrow’s awards to live on as a forever favourite," and the New York Times adding: “Ryan Coogler’s Sinners is a big-screen exultation — a passionate, effusive praise song about life and love, including the love of movies.”
Released a couple of weeks ago, but a title we’ve only just caught up with, is the latest from Shameless What Have They Done To Your Daughters, from director Massimo Dallamano. Part Italian giallo and part poliziotteschi, it comes complete with all the Shameless hallmarks, from its distinctive yellow O card packaging, reversible sleeve, new restoration of the film, and extras including a commentary from giallo expert Rachel Nisbet, as well as interviews with some of the crew involved. It’s a cracker and a welcome addition to its ongoing series of giallo-themed releases. The company’s Garwin Spencer Davison said: “Massimo Dallamano’s explosive thriller arrives in a stunning 2K restoration—now in its definitive uncut Full HD edition. With extras featuring revealing bonus content and unearthed footage, this is the version Dallamano intended: raw, unforgettable, and uncompromising in its imagery, violence, and searing social critique. A true classic of 1970s Italian cinema, still disturbingly relevant today.”
We’ll end with another celebration, as Apple and its AppleTV+ service scored massively at the nominations for this year’s Emmy Awards, scooping more that 80 nods, a record-breaking amount, with Severance (news of the second series appearing on disc have yet to materialise) leading the way. It earned 27 nominations, closely followed by The Studio, the excellent inside-Hollywood comedy that picked up 23, the most for a new comedy ever and the most acting nominations. With 31 acting nominations in all, Apple had more than any other network or studio. Apple’s head of worldwide video Zack Van Hamburg said: “Everyone at Apple is celebrating the talent, creativity and hard work of all of our Emmy nominees this morning. Severance and The Studio have exceeded our wildest expectations in earning the most nominations for both drama and comedy series, alongside the phenomenal Shrinking and Slow Horses. These shows have connected deeply with audiences around the world and we’re incredibly appreciative to the Television Academy for recognising the breadth of storytelling that has been an honour for us to champion. We send our warmest congratulations to all of today’s nominees.” Apple’s head of worldwide video Jamie Erlicht added: “This record-breaking year is a milestone for Apple, and we’re especially proud of the continued impact our outstanding series nominees — Severance, The Studio, Shrinking, and Slow Horses — are having on global culture. These nominations honour bold storytelling, exceptional performances, and remarkable craftsmanship, and we’re deeply grateful to the Television Academy for recognising these visionary creators.”
 SPOTTED OUT AND ABOUT
In true Naked Gun style, Warner's Superman stunt atop Europe's tallest building, The Shard, in London, is spoofed as Frank Drebin strides the towers … And here's that feature from The Times…
  The Raygun, is 15 years old and continues to report on the home entertainment industry and its ever-changing face. To ensure we can continue to bring you the latest news, opinion and analysis from a business we love and care passionately about, you can support our independent journalism by donating to us via Ko-fi… Thank you.
TRAILERS OF THE WEEK
Karen McDonald is now prime minister…
Pixar, next Spring…
One of the original video game to film franchises returns…
Not quite game to film, but the earliest of its kind…
Puppy love…
Due from Signature…
Feels like this has been a long time coming…
THE OBLIGATORY GDPR BIT
You're on The Raygun newsletter mailing list, which has been running for eight years, because you requested it, have been recommended to us or sent us emails. You can unsubscribe at any time, if you're daft, using the link elsewhere or by emailing as below. But of course, you don't want to do that, do you? We don't share your information with anyone else, we don't like cookies and we're the good guys. We care because you do… To subscribe to The Raygun newsletter, please email info@theraygun.co.uk
with subscribe in the subject matter
To unsubscribe, email info@theraygun.co.uk with unsubscribe in the subject
line
For editorial or advertising queries, contact tim@theraygun.co.uk
The Raygun,
31 Corrib Court,
49 Crothall Close,
London N13 4BG
|
 | Powered by YMLP.com | |
| | ||