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CINEMACON OPENS WINDOWS DISCUSSION
MINING FOR GOLD
ENTERTAINMENT MOOD MORE BUOYANT IN 2025
FUTURESOURCE: PREMIUM VOD IS GROWING
BASKET: CASE HISTORY…
…AS WEBSITE ENTERS THE DTV MARKET…
…SECOND FLICKERING FEATURE ON THE WAY
P-P-PICK UP A PENGUIN
SOMETHING TO SINK YOUR TEETH INTO
GOOD TIMES BAD TIES WITH ZEP DOC
CRITERION ADDS MORE BAKER…
…AND UNVEILS JUNE TITLES
POWERHOUSE DOES THE KNOWLEDGE
ARROW REVEALS WEIGHTY JUNE SLATE
STUDIOCANAL IS GOING UNDERGROUND
101 FREAKS OUT
TRUE BRIT ON THE MARCH WITH ALLIANCE
SUPPORT THE RAYGUN
TRAILERS OF THE WEEK 
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It was a good week for… A Minecraft Movie, which boasted the biggest opening weekend since Barbie took the world by storm and the biggest ever for a video game adaptation…
It’s been a bad week for… UK box office, down 35 per cent year-on-year in March, but fear not, part of this was down to an early Easter in 2024, which took place in March…
We’ve been watching… A couple of big digital releases on the shape of Becoming Led Zeppelin and Black Bag, as well as 101’s fun Creepozoids as well as Eureka’s stunning Laurel And Hardy silents 1928…
It was a big week for the theatrical business, as Cinema Con, the big event for studios to show off their wares to exhibitors, took place in Las Vegas. You’ll have read about the multitude of films announced and trailers unveiled and, according to the reports from the convention, there was plenty to get excited about. Everything from more Marvel, more Predator, more John Wick and more Tron through to loads of new product and potential franchises and, in the likes of Avatar: Fire & Ash, Superman, Jurassic World Rebirth, Ballerina, Lilo & Stich, Mission: Impossible – Final Reckoning and more, plenty to get people excited about the future of theatrical and potential box office blockbusters. Oh and there was the much-discussed reveal of four separate Beatles biopics all due in the same month, with the likes of Paul Mescal and Barry Keoghan set to appear as the Fab Four. You can see a decent round-up here and also here but it’s also worth noting that the business discussions were just as fascinating, albeit without the presence of marquee names. For as Deadline noted, windows were back on the agenda, with the chief of the biggest US theatrical chain, AMC, Adam Aron saying that three of the major studios (he didn’t name which ones) were in principal agreed to returning to a 45 day theatrical to home entertainment window. It’s currently anywhere between roughly two and a half to five weeks, and although, as noted everywhere (including below), premium vod is performing strongly and a growth area, cinemas are keen to revert to longer exclusive windows. AMC chief executive Aron said: “I have at least three of the six major studios who are completely in agreement that we need to bring back the 45-day window. And that’s a good start. Now, if you look at every studio except for Disney, the window is 18 to 36 days. For Disney, the window is 60 days. Good for Disney… and Disney’s been a very successful studio. So we shall see. But the largest exhibitor in the United States is in serious dialogue with studio after studio after studio [because] we as an industry are leaving money on the table by not living up to the 45-day window. We have started conversations with almost every major studio so far — we haven’t gotten to everybody yet — that as an industry, collectively, we need to fix this, and we need to bring back at least a 45-day window, and then we can talk about, should it be more than 45 days? But it can’t be 25 days. It can’t be 28 days, right? It can’t be 32 days, because it’s robbing movie theatres, of moviegoers.”
Meanwhile, the glum March UK box office figures, mentioned at the top of the newsletter, down 35 per cent year-on-year, although tempered by the fact that Easter is late this year and was in March in 2024, were further alleviated after April got off to a bang, thanks, in no small part, to A Minecraft Movie, Warner’s latest outing. The film took £18 million in the UK in its opening weekend, the biggest ever for a video game adaptation and the best since Barbie (also from Warner), and a similarly hefty $163 million the US (making the UK, using the old theatrical rule of thumb that UK box office in pounds was roughly 10 per cent of the US box office in dollars, a stronger opening than across the Atlantic). Also worth noting is the impressive £2 million plus earned by Six The Musical on one day alone on Sunday, while a few notable box office results come from Universal’s Black Bag (now at £3.5 million) and Curzon’s Flow, mentioned here recently and now at more than £1.2 million.
Households that have been struggling – and spending less on entertainment – are feeling more financially stable in 2025, and, experts at Futuresource Consulting said, as confidence returns so do the opportunities for entertainment across the board. The latest report from the company suggests that more than 60 per cent of households across assorted European and North American territories taking in the UK, France, Germany, USA, Canada, Italy and Spain, are now feeling better off or no change compared with six months ago. Futuresource’s Living With Digital research added this brings opportunities both at cinemas and at home. Principal analyst at Futuresource Consulting James Duvall said: “Households are reassessing their entertainment budgets. With more economic confidence comes the potential for higher disposable income. This bolsters the likelihood of consumers visiting the cinema more often, renting or even purchasing content outright and being less likely to churn from a subscription service. However, there is a catch. The entertainment industry can’t just wait for the money to arrive, it still needs to compete and capture those eyeballs.” On theatrical, Futuresource noted that after a flat 2024, there was a newfound optimism at cinemas and “momentum is now building for 2025”. More non-cinema goers were planning to return to cinemas, and while the 26-45=year-old age group is committed to the experience, older consumers, aged 46 to 65 were pricing harder to win over. Futuresource added that “appetites for theatrical experiences remains strong”. Away from cinemas and in the home and on digital, Futuresource said that while streaming is still on top, digital purchases and rentals are on the rise, with premium vod leading the way. Engagement in the premium window had grown to 40 per cent, an eight per cent increase, with the US and UK ahead of the pack and Canada showing the sharpest rise. “Increased awareness has been a key driver of the growing engagement with Premium,” said Anastasia Budash, lead analyst, Futuresource Consulting. “Those who already transact digitally have the highest Premium usage at 77 per cent. This all points towards the idea that better category promotion and overall premium release visibility could push engagement further.” On streaming, Futuresource said with the average number of services per household in the UK and Germany at 3.3 and 2.7 per cent respectively, saturation point may be being reached. And with the ceiling on how many services will pay for potentially reached, retention is now crucial for streamers. Ad-supported and other bundles were perhaps helping keep consumer spending up. Futuresource’s James Duvall concluded: “Entertainment companies are at an inflection point,” says Duvall. “With financial pressures easing, consumers are ready to spend, but only where they see clear enjoyment value. In a divergent world, the industry is competing with a wide array of entertainment pursuits. For the box office, keeping cinema-goers engaged, particularly among younger audiences, will be crucial. In streaming, retention must take priority, ensuring platforms become essential rather than expendable in household budgets. In addition, the industry needs premium pricing strategies that are optimised and consistent across markets to maximise adoption. It’s the brands that adapt to the new entertainment environment and the shifting consumer behaviours that will be best positioned to capitalise on this next exciting phase of growth."
The DTV market has been notoriously tough in recent years, so it’s good to be able to report a success story, as website Flickering Myth has moved into production and, working alongside Shepka Productions and High Fliers, has enjoyed such success with its first production under the partnership, The Baby In The Basket. The film came about after one of the film website’s writers, Tom Jolliffe, branched out into scriptwriting and worked with Shepka Productions on When Darkness Falls; Flickering Myth was looking to move into films too and the trio ended up partnering to work on The Baby In The Basket. Flickering Myth’s Gary Collinson said that they had “very high ambitions” for the film itself, albeit with a fraction of the budget needed, with efforts further hampered by a storm that almost derailed the entire project. “I think we mostly managed to achieve what we set out to do, which was to hearken back to the classic British horror style of the 50s,60s,70s with a few fun moments thrown into the mix. It was also a great experience working alongside the cast and crew, who all did a fantastic job, despite the hectic, brutal schedule we put them through. We’ve been fortunate enough to have developed a steady following at Flickering Myth over the years, and our audience has definitely supported our move into production, both through the initial crowdfunding campaign for the film, and by engaging with and sharing our updates as we moved through the production process. Our hope was that our community would feel some kind of involvement with Flickering Myth Films in the same way that it has with the website, and that’s something we’d like to continue developing through future projects. I’d like to think that if nothing else, Flickering Myth’s involvement with The Baby in the Basket has hopefully helped to raise the general awareness of a low-budget independent British film and brought a few extra eyes upon it. And at this level, in such a highly competitive market and with so much content being produced and released, even a little additional exposure can go a long way.” And as for The Baby In The Basket, the project has gone on to enjoy a strong success, notably on its physical release. Flickering Myth’s Collinson continued: “ High Fliers acquired the UK distribution rights from our sales agent, Miriam Elchanan at Strive Global Media. They’d previously released a couple of Shepka Productions’ earlier films in the UK, but The Baby in the Basket was the first to be given a physical release on DVD, which was something we were very excited about. We’re life-long fans of physical media, and so it was fantastic to see High Fliers support the film with a DVD release, and it’s obviously a great feeling to see the film sitting on the shelves in supermarkets and HMV. We definitely felt that The Baby in the Basket would be suited to the DVD market, although physical was a ship that could easily have sailed for Flickering Myth Films. Thankfully though High Fliers had the confidence to support it, and we have had a great experience working with them on the film and the release. We’ve also worked closely with Wez Merchant and his team at Strike Media, who masterminded a fantastic PR campaign for us, including mainstream coverage in outlets like The Guardian and SFX Magazine. That really helped to elevate the overall awareness and coverage for the film in the weeks leading up to its release, and they did a great job handling this for us. Going in, with the budget we had in hand, our only real aspiration was to actually get the film shot and complete, likely for a small streaming release, and so to see it go one or two steps further has been fantastic. We had a nationwide theatrical run in the Philippines at the start of February, and the DVD got off to a great start in the Official UK Chart, where it has been loitering around for the past four weeks. It is still early days, but the numbers appear to be strong and it definitely feels like we are punching above our weight a little in terms of our budget/level, which is something we’d hoped that ‘Flickering Myth Films’ might bring to our projects.” Continuing with the film and the label, Flickering Myth’s Gary Collinson admitted that things are tougher now in the DTV market after the advent of streaming and subscription vod, but is still planning to make its features work – and there’s another on the way. He told The Raygun: “It is incredibly difficult. We have the benefit on The Baby in the Basket that a portion of our budget came from crowdfunding, and we were also able to take advantage of the government’s previous production rebate scheme, although that was pretty much cancelled out by weather issues inflating our budget. We’ve managed to secure UK and US distribution across DVD, TVOD and AVOD, along with a few international markets (with hopefully more to come at Cannes), and we do have the luxury of being able to use Flickering Myth for some additional marketing and promotion over the coming months, which will hopefully continue to drive engagement. Hopefully we’ll be able to accumulate enough here and there over time, but we’ll need to perform exceptionally well to see a profit overall. And of course, the producers are last to see a slice of the pie, so with market fees, costs etc., we are certainly not expecting any quick returns. However, we’re also looking to the future, and hopefully a successful release for The Baby in the Basket will help us to set a firm foundation for Flickering Myth Films going forward. We have actually just wrapped principal photography on a second feature, a 1970s-set suspense thriller entitled Death Among the Pines, which is another collaboration with Nathan (director), Tom (writer) and Shepka Productions, albeit a little smaller in scale and budget than The Baby in the Basket. It stars Nicolette McKeown (Mercy Falls), Stephen Kerr (Lock & Load) and Olly Bassi (Dick Dynamite: 1944), and we are hoping to have it ready for a streaming release in early 2026. We have a host of plans and ideas to build out Flickering Myth Films and would love to announce a three-film slate tomorrow, but it’s an incredibly challenging time for independent film (and for the blogging industry) and an expensive business, even at this level of budget. When A-list filmmakers are struggling for financing then we have to be realistic as to what we might be able to accomplish at out level without any significant backing. Right now our attention is focussed on maximising the reach of The Baby in the Basket, completing Death Among the Pines, getting our distribution partners into profit and our investors repaid. If we can demonstrate that, then hopefully we’ll be better positioned to start realising those plans.”
Never work with children or animals, the old adage says, so fair play to the cast and crew of The Penguin Lessons, Lionsgate’s forthcoming feelgood comedy drama starring Steve Coogan, which boasts a raft of schoolchildren appearing in it alongside a penguin. The adage was noted by the team behind it at the Curzon Mayfair, London, premiere of the film last week, including Coogan himself, with The Raygun lucky enough to be invited along on the day. The film has already earned plenty of coverage on the back of the event (see here for some YouTube footage of the night and, in a blink and you’ll miss it appearance, you can catch The Raygun family passing behind the interviewee Coogan at one point https://youtu.be/DV5L_vbhH0E) and with bus sides and ads on the tube, there’s plenty of marketing for the film now breaking ahead of its April 18 release. As Coogan further noted, the film’s message is “try not to be cynical” and, after crying both tears of joy and sadness throughout this marvellous film, we can see why…
The big April 7 release is what is, for us at The Raygun, pretty much the best of the year so far, Robert Eggers’ take on the vampire legend Nosferatu. The film, boasting an unrecognisable Bill Skarsgard as the bloodsucking Transylvanian, alongside Nicholas Hoult, Willem Dafoe, Aaron Taylor-Johnson and Lily-Rose Depp (in a performance that wowed the critics), took more than £12 million at UK cinemas, an impressive haul and one that helped kick off 2025’s strong box office performance. It’s the latest to land in Spirit’s ongoing partnership with Universal following the mega-success of current chart-topper Wicked, and comes out in 4K, Blu-ray and DVD. All formats contain a raft of extras, including an extended cut of the film (we can’t wait), further deleted scenes, a raft of Making Of featurettes on how Eggers turned his passion project into reality and a commentary from the director himself. Oh, and don’t just take our word for how good this film is. The Observer’s Wendy Ide said: “Even by his usual standards, Nosferatu, a remake of FW Murnau’s 1922 German expressionist silent film Nosferatu: A Symphony of Horror, is an unsettlingly atmospheric and richly realised work. There’s something about the macabre sensuality and mossy, crepuscular gloom of this retelling of the vampire legend that leaves a mark on the audience. It’s not so much a viewing experience as a kind of haunting… There’s a terrible beauty to it all and a seductive quality that makes Eggers’s febrile gothic nightmare a hard thing to shake.”
It is, as the NME noted, the definitive origin story, and now, after taking more than £1 million at UK cinemas Becoming Led Zeppelin, the documentary covering the early years of the original hard rockers landed on digital from April 7, making it one of the week’s big releases. It’s a fascinating documentary and, surely, one that will be followed with further instalments, charting the group’s storied journey to becoming the world’s biggest rock bands ever. The detailed documentary goes into forensic detail about the band’s formation is light on scandal – not unsurprisingly, given the three surviving members’ involvement – but more than makes up for it in terms of the footage on offer. An early, pre-Led Zep appearance, still as the Yardbirds, with the band performing one of their first gigs in Scandinavia, is worth it alone, while footage from the Roundhouse in Camden, complete with people covering their ears, is hilarious. No word yet on a physical release, but given the band’s fandom and the relatively limited nature of the theatrical bow, this will be a biggie…
A late addition to Criterion’s line-up for May, as the imprint has announced the further inclusion of another Sean Baker directed film to its slate for the month. We’ve already reported on the fact that the director’s Anora, this year’s big Oscar winner, is due to go straight into the Criterion Collection for its first physical release in the UK, via Spirit. Prince Of Broadway, due on May 5, the same day as Anora, is an earlier Baker outing and, like Anora, it comes with a raft of extras, including Baker overseeing not one but two commentaries – the first with him and the production crew and a second with Baker and the acting talent. (We watched the Anora discs for review in our regular physical media coverage for Film Stories magazine, and can heartily recommend both of the two commentaries, which get the balance of the serious and technical with the anecdotal and trivial.). Comment on Prince of Broadway came from Spirit’s Tracy Niland, who said: “Criterion is truly spoiling us by adding Prince of Broadway to the UK schedule to partner the release of Anora. Another insightful look into the lives of immigrants in New York City this time focussing on West African Lucky and his Armenian Lebanese boss Levon who sell knock-off designer goods in Manhattan. A moving feature that followed his previous outing Take Out with a clever sleeve that requires a double-take – just like the film itself.” The news of the May addition to Criterion’s slate came at the same time as the imprint and partner Spirit revealed Criterion’s June titles. These kick off on the second of the month with Iranian director Abbas Kiarostami’s The Wind Will Carry Us and is followed a week later by bona fide world cinema classic The Umbrellas Of Cherbourg, and the month is closed out on the 23rd with concert pianist biog Thirty Two Short Films About Glenn Gould. Comment came again from Spirit’s Tracy Niland who said: “In addition to his previous films given the Criterion treatment comes Abbas Kiarostami’s The Wind Will Carry Us seen as one of his greatest cinematic achievements. An undercover documentary maker from Tehran arrives in an Iranian Kurdistan village to make a documentary about funeral rites. Unfortunately the elderly woman whose death was to be his focus just will not die, leaving him and his colleagues having to slow to the pace of village life whilst building relationships with their subject and her neighbours. From a beautiful 4k restoration, this Blu-ray release also features a documentary about the making of the film, an interview with the Abbas and other extras. Fans of Kiarostami will be pleased with the care that Criterion has taken with this release as it looks stunning. Following close behind is the first of Jacques Demy’s films to be given the 4k treatment: The Umbrellas of Cherbourg – the film that shot Catherine Deneuve to stardom. A technicolour feast for the eyes, the songs of Michel Legrand tell the story of young lovers torn apart. Looking and sounding brighter than ever before with a host of extras including interviews, documentaries and a restoration overseen by Demy’s son, Mathieu Demy. A sumptuous treat! Finally we have Thirty Short Films About Glenn Gould taking us inside the brilliant mind and obsessions of the world-renowned pianist Glenn Gould. Told via dramatic sketches, interviews and avant-garde animation the 4k restoration on this Blu-Ray was overseen and approved by director Francois Girard and is accompanied by a new commentary and interviews alongside featurettes made in the 50s around Gould himself. The Simpsons paid homage to the film by naming an episode 22 Short Films About Springfield – you have to go some to make a film that gets that level of awareness!”
More announcements from the boutique Blu-ray imprints and recently revealing its June titles was Powerhouse and its Indicator label, with a raft of titles outlined by the company’s Sam Dunn, who said: “We're incredibly proud to be giving Mike Nichols' powerful 1971 drama Carnal Knowledge its world 4k UHD premiere, and its UK Blu-ray premiere. Featuring the incredible acting talents of Jack Nicholson, Art Garfunkel, Candice Bergen, and Ann-Margret, Nichols' follow up to his equally powerful Catch-22 is a frank and uncompromising exploration of male attitudes to women and sex, which is arguable more relevant now than it was half a century ago. As ever, our limited edition features a beautiful restoration of the main feature, an array of new and archival extras – including an insightful critical appreciation by filmmaker Richard Ayoade – and comes in deluxe packaging with an 80-page book containing a new essay and archival material. We're also thrilled to be giving the 1970 Roman Polanski-scripted drama A Day At The Beach its long-overdue world Blu-ray premiere. Made shortly after Rosemary’s Baby, this dark tale of one man's journey into self-destruction was shot on location in a rainy Danish seaside town, and features charismatic cameo appearances by British comedy legends Peter Sellers and Graham Stark. Again, our limited edition release features a stunning new restoration from the original negative, extensive extra features – including a feature-length documentary about the film's celebrated producer and regular Polanski collaborator, Gene Gutowski – and a booklet containing new and archival writing.”
As regular readers will know, the last Friday of every month sees Arrow unveiling its forthcoming slate for a few months down the line and so it was at the end of last week, with the company announcing its titles due in June. And it continues to see Arrow getting stuck into Warner’s catalogue after the pair inked a major deal, with a wealth of goodies coming to 4K and Blu-ray. What is notable is the sheer breadth and range, with mainstream and very video friendly titles (Jackman, Travolta and, notably, Berry in 4k in Swordfish, Patrick Swayze in VHS staple Roadhouse on 4k and Blu-ray, Harrison Ford thriller Witness), lesser known but cracking genre fare (Dark City across 4k and BD); a dose of spooky martial arts (The Invisible Swordsman on Blu-ray) and two stone-cold classics in the shape of The Taking Of Pelham One Two Three and The Good, The Bad and The Ugly (4k and BD). Commenting on the range, the company’s James Flower said: “We’re kicking off the summer season with some fantastic action-packed favourites passionately presented in the high quality and attractive packaging our audience has come to expect. Dark City has been requested for years and the fans will have their patience rewarded with no stone left unturned, including eight (!) commentaries and new interviews with Rufus Sewell among many others! We’re also very pleased to release Witness as the inaugural title in our new deal with Paramount UK, lots of treats to come. Finally, hot off our restorations of A Fistful Of Dollars and For A Few Dollars More, we’ve searched 35mm prints around the globe to ensure that every single piece of surviving footage from Sergio Leone’s immortal trilogy topper will be found somewhere on our edition in immaculately restored 4k. We’re only half done – wait until you see what the second part of 2025 has to offer.”
After the success of its new versions of Luc Besson classics Leon and Nikita, Studiocanal has delved into its archives once more to give a new ease of life to another classic from the director. For it has this week announced a sparkling new 4K UHD and Blu-ray edition of one of Besson’s earlier works, Subway, landing on June 23. The three-disc, dual format set offers the film in 4K and standard BD versions, each containing a brand new Making Of… documentary, with a supplementary Blu-ray featuring a raft of new extras, taking in new interviews with cast (star Jean-Hugues Anglade) and crew (editor and co-writer Sophie Schmit, assistant director Didier Grousset and assistant set designer Didier Naert), and another new extra that sees Michel Jonasz discussing Arthur Simms, singer of It’s… Only Mystery. What’s more, to all comes encased in a Steelbook with new artwork from Flore Maquin who designed the stunning Leon and Nikita packaged. This should ensure that fans who brought those two will want this too to complete the set. Comment came from Studiocanal’s Piers Slade said: “We are excited to release Subway for the first time on UHD and with a host of new extras. This makes for another strong addition to our range of Luc Besson limited edition SteelBooks, joining Nikita and Leon: The Definitive Edition.
Our recent viewing has included the forthcoming VHS favourite Creepozoids given a new lease of life by 101 Films. It’s due in April and it’s being joined a month later by more from the indie imprint, as it has this week announced a release for another 80s classic in the shape of HP Lovecraft adaptation Castle Freak, directed by Stuart (Re-Animator) Gordon. Comment on the pair came from 101 Films’ Tim Scaping, who said: “We're continuing to delve into the vaults of Charles Band's Full Moon Features this Spring, with 1987's post-apocalyptic, slime packed creature feature Creepozoids coming to UK Blu-ray on April 21. Despite a shoestring budget of $150,000 it looks fantastic, shot on 35mm and with top class practical effects. Hot on its heels is cult gothic horror Castle Freak, a mid-90s effort from much-missed director Stuart Gordon (Re-Animator, From Beyond) that sees him return to the Lovecraftian themes that often featured in his work. Released on our premium Black Label on May 26, the disc features brand new interviews with composer Richard Band and horror movie legend Barbara Crampton.”
Its first big theatrical release, Marching Powder, became the first thrust of this year’s Moments Worth Paying For campaign and now relative newcomer to the distribution market True Brit Entertainment has joined the Industry Trust for IP Awareness. The company, which is aiming to release six to eight releases a year and is headed up by former Lionsgate supremo Zygi Kamasi, has enjoyed a strong success with the Danny Dyer starring, Nick Love directed Marching Powder, with its box office currently standing at £3 million. Chris Besseling, head of theatrical distribution, marketing and publicity at True Brit Entertainment said: “We are delighted to be the latest members of The Industry Trust and are committed to supporting the hugely important work that they do year-round to protect valuable IP and promote the big screen experience. At True Brit Entertainment, we are strong believers in the unique, unparalleled, communal experience of the cinema - an experience that needs to be treasured, safeguarded and celebrated now more than ever. With our diverse slate of British theatrical releases coming together rapidly, we look forward to working closely with The Trust to nurture new and existing cinema-going audiences so that the wonders of a trip to the cinema can be enjoyed for generations to come.” Liz Bales, chief executive at The Industry Trust for IP Awareness said: “We are delighted to welcome True Brit Entertainment as member of the Industry Trust. Its goal to champion British storytelling aligns perfectly with the vital role homegrown content and local productions play in the health and success of the UK entertainment industry. By bringing British films to audiences, it helps meet the demand for stories audiences want, while also sustaining a thriving creative sector. We look forward to working with True Brit as their titles continue to emphasise the value of the big screen experience.”
And we’ll end with an apology, as we received a number of emails last week reminding us that current Apple TV+ hit Severance was, unlike many other of the hits from the computer giant’s streaming service, especially its feature films, indeed available on Blu-ray. And a special thanks to SIlversun Media Group, which worked with Ben Stiller and his team on the menus, which was among those that pointed out our error, and advised us that not only does it look a treat, but it’s doing well too. Apologies to all concerned, and also a reminder for everyone beat our doors down and to make a song and dance about your releases to The Raygun, not just for here but for potential inclusion in our consumer journalism on outlets such as Film Stories too…
 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
The final outing…
Odds on a spoof of the Taken speech are high…
Altitude continuing its relationship with the great man…
Tron is back…
THE OBLIGATORY GDPR BIT
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