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MORE FILMS RELEASED AT CINEMAS…
…AND MORE STRUGGLE TO MAKE THEIR MARK
AMAZON PRIME SIGNS UP TO BASE/DEGI
THE HOLDOVERS LANDS IN STORES…
…AND DAZZLER DATES MAY DECEMBER FOR MAY
DARKNESS BRINGS LIGHT FOR SIGNATURE…
…AS COMPANY TALKS THE END AND THE START OF Q2
WRESTLERS CLAW THEIR WAY ONTO HOME ENT
PICNIK DINES OUT ON SWEDE
OLD GOLD KEEPS THE WOLVES AT BAY WITH THAMES RELEASES
SLACKER JGETS. BUSY IN JUNE…
…AS SPIRIT MARKS CRITERION FIRSTS
MCLAUGHLIN’S AUTOBIOGRAPHY CHARTS HMV HISTORY
TRAILERS OF THE WEEK
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It was a good week for… The Holdovers landed on physical formats and off to a bright start for Dazzler…
It was a bad week for… Anyone waiting for "the 10th film from Quentin Tarantino", as The Movie Critic appears to have been cancelled…
We have been watching… We've seen two of the year's best over the past week, with Civil War excelling at cinemas (it really is remarkable) and Signature's action-packed Boy Kills World, which is ridiculously cracking fun…
Last week we promised more figures from the FDA – Film Distributors’ Association – Yearbook for 2024. And it’s hard to see past the opening spreads which look at 10 year market trends at UK cinemas going back to 2014. Among the figures it notes is one that shows while cinema admissions rose year-on-year in 2023, up almost six per cent, they have still not reached pre-pandemic levels – the 135 million bums on seats was bigger than any year since 2020, but is still lower than the six years recorded before Covid struck. And yet the Yearbook goes on to show the number of titles released at cinemas was the greatest for the past decade – more than 1,000 titles (1,013 in all) were put into multiplexes and more, easily beating the highest figure over the past 10 years (2019’s 938 releases). But it’s getting harder to succeed, for some 90 per cent of those failed to hit £1 million in box office receipts, compared with 83 per cent in 2013 and 73 per cent in 2003. A smaller percentage (eight) earned between £1 million and £10 million at cinemas in 2023 (just 82 films compared to 102 or 13 per cent of all releases in 2013 and 93 or 22 per cent in 2003). And a smaller number – just 26 or two per cent – earned over £10 million at the box office last year, compared to 34 or four per cent in 2013 and 19 or five per cent in 2003.
In his introduction, FDA CEO Andy Leyshon noted: “Ultimately, 2023 continued the steady business recovery of recent years with box office, admissions and the number of releases all increasing year-on-year. Perhaps not hitting anticipated heights but displaying enough interest and success to suggest that there is a bright future ahead. As a consequence of 2023’s industrial interruptions there may well be less growth or even a plateauing of box office during 2024. Yet, this should not halt the progress made and the genuine promise that lies ahead from 2025 and beyond. This is certainly not the time for pusillanimity, and instead we need to be brave to focus on the great adventures ahead. We should take four major learnings from 2023: (1) the film industry needs to work symbiotically as one forward-moving ecosystem, with every area reliant upon mutual good health; (2) momentum must be maintained to both reinforce existing leisure habits and to attract new, younger audiences with a guaranteed slate of diverse releases 52 weeks of the year; (3) whilst acknowledging all that has been good before and that will continue to perform well, there is no substitute for sheer originality; and (4) we must constantly strive for the marketing magic that can successfully connect a film with audiences keen to immerse themselves in visual pleasures.”
News from BASE and the organisation has announced that Prime Video has signed up and become the latest hybrid member of BASE and the DEGI, the Digital Entertainment Group International. The announcement means there are now more than 85 member companies, which BASE said was a “thriving community” of organisations “united in their pursuit of growth and success for Home Entertainment in the UK and Internationally”. The membership is effective immediately and BASE and DEGI chief executive Liz Bales said: “Joining the membership of BASE and DEGI is a welcome progression in our ongoing partnership with Prime Video, evolved across years of effective cross-category growth activity in multiple territories. Through collaboration and an exploration of our collective understanding of consumer behaviours and sector trends, we enrich our ability to engage with audiences and grow the Home Entertainment segment internationally.” Membership now includes companies taking in “major film distributors, independent film studios, content creators, commercial entities, creative production agencies, insight providers, digital service providers (DSP), and regulatory partners and related associations”.
The big studios are increasingly looking to, among other things, licensing the physical versions of new release titles out to independent labels, with the likes of Universal giving recent theatrical titles to indie imprints to work their magic on for disc releases. Arguably one of the biggest thus far to be licensed landed in stores on Monday as Universal title The Holdovers was unleashed across the three different disc-based versions in stores from Dazzler. It’s a lovely looking package and we got all misty-eyed as the 15-rated 1970s-set title opened with an old BBFC AA certificate image and, as the company’s Paul Holland said, the film got off to a strong start. He said: “Dazzler is delighted to see the first days results on The Holdovers, by having three SKUs (DVD, Blu-Ray and 4K) we’ve been able to cater for everyone’s choice of format and it’s great to see sales are pretty evenly split between those formats. There are still people discovering this film and I am sure this is a title with a very long shelf life. The physical release had enjoyed some great PR support with more five star reviews as journalists pick up the opportunity to talk about the film again.”
It’ll be followed in May by another big feature film release from Dazzler in the shape of May December, and, as Paul Holland explained: “There’s another feature film release from Dazzler coming out next month (well it had to come out in May or December), the Natalie Portman and Julianne Moore drama, May December. Off the back of a theatrical release this seductively discomforting watch has had over 100 nominations for awards and is a compelling watch. Also coming in May from Dazzler are two new theatrical features, opening to over 250 screens is Super Wings, Maximum Speed on May 3 followed by another animation on May 31 with the fun packed Little Monsters.. aimed fairly and squarely at all those Little Monsters that need entertaining during the spring bank holiday.”
There’s a few big weeks on the way for Signature in home entertainment terms, with Out of Darkness landing in stores on Monday April 22 with a strong word of mouth behind it and then, the following week, April 29, one of our favourites from 2024 so far, the excellent The End We Start From due for physical media. Commenting on the releases, the company’s Kristin Ryan said: “A firm festival favourite, Out of Darkness is a unique home grown action horror from director Andrew Cumming and the producer of Saint Maud and the upcoming Love Lies Bleeding. Set in 43,000 BC, a disparate gang of early humans band together in search of a new land, but when they suspect a malevolent, mystical being is hunting them down, the clan are forced to confront a danger they never envisioned. Awareness, reviews and real fan love for this film from its theatrical release late last year is sure to make it breakout hit at home entertainment. Next up is a different but very real modern disaster thriller in the Jodie Comer starrer The End We Start From. Set in the very near future, a flooded and decimated England leaves a new mother and her baby refugees in search of safety. Jodie Comer is the mesmerising lead giving another stand out performance proving she really is one of the biggest British stars of the moment. With its stark and stunning landscapes and under Mahalia Belo’s visionary direction, The End We Start From is both a terrifying future and a hopeful study of the resilience of the human spirit.”
The two April Signature releases outlined above presage a busy rest of Q2 for the company, with packed May and June schedules. The company’s Kristin Ryan continued: “Key titles forthcoming in May and June are as varied and exciting as ever from the Signature stable. Following its release around Easter in UK and Irish cinemas is the Cate Blanchet starer The New Boy. Always exceptional in every role, Cate is mesmerising as the fervent nun running an orphanage in 40s outback Australia trying to understand the titular ‘New Boy’ sent to her and how his mysticism and spirituality marry with her devoutly religious views of the world around her. The film was widely regarded across the festival circuit and on its release and we’re excited to bring Warwick Thornton’s visionary release to wider audience at home. Alongside The End We Start From, Q2 sees the release of three more disaster films ranging from the wildfire drama in director and star Peter Facinelli‘s On Fire, the Khalahari plane disaster set Prey! Starring Ryan Philippe, Emile Hirsch and Mena Suvari to the tense Jeniffer Hudson, Milla Jovovich actioner Breathe, set in a post apocalyptic America decimated and left almost uninhabitable by oxygen depletion. Next up are a pair of tense action films, You Can’t Run Forever that sees the ever watchable and terrifyingly intense JK Simmons star as the unhinged antagonist relentless pursuing his victims and the Aaron Eckhart CIA revenge thriller Chief of Station. Co starring Alex Pettyfer and Olga Kurylenko, Chief of Station is a slick all action revenge thriller set in stunning European locations proving once again Aaron Eckhart is the thinking person’s action hero. Also being released later in Q2 is the charming London set romcom based on the best-selling book, This Time Next Year starring Sophie Cookson and Emily in Paris star Lucien Laviscount and the documentary William Shatner: You Can Call Me Bill. Part career documentary, part personal memoir, the ever watchable and charismatic Shatner tells his life story and shares his personal philosophy which is both entertaining and emotional.”
Monday’s big catalogue release came from Studiocanal’s enviable vault of treasures with a new restoration of Ealing classic The Lavender Hill Mob (alongside a 4K first release for another Alec Guinness starring Ealing tale, Kind Hearts And Coronets). The impressive package includes a wealth of extras, including Benedict Morrison, Senior Lecturer in Literature and Film at Exeter University and author of Eccentric Laughter: Queer Possibilities in Post-War British Film Comedy, discussing the Alec Guinness classic. Morrison also marked the release by taking over Studiocanal’s feed in X (better known as Twitter to you and me) and talking about the film in a lengthy and fascinating thread on the film (see it here). As Morrison noted, Studiocanal’s new restoration is “stunning” and he talks further about the film on the latest podcast from the distributor, talking to our old pal Simon Brew from Film Stories magazine about the film. Morrison’s knowledge of the film and Ealing generally is hugely impressive, going from the ridiculous to the sublime, from the trivial to the important, and it’s a hugely recommended listen. You can listen here. We’ve already reviewed the film for, coincidentally, Film Stories as part of its physical media coverage, but the release really is a treat. As Morrison said in the podcast: “There is not a single frame of the Lavender Hill Mob that is not less than perfect.”
Meanwhile, just a bit further over the horizon, and Monday May 6 sees the release of one of the best films we’ve seen so far this year (and it’s up against some stiff competition, as we’ve seen some real belters) in the shape of The Iron Claw due from Lionsgate. Comment on the forthcoming release came from Lionsgate’s Kirsten Sweeney who said: “We’re thrilled to be bringing The Iron Claw to DVD and Blu-ray on May 6. Zac Efron gives ‘the performance of a lifetime’ (IndieWire) in director Sean Durkin’s drama, which follows the unbelievable true story of the Von Erich wrestling dynasty. With support from Jeremy Allen White, Harris Dickinson and Lily James, this star-studded film was a hit with critics and audiences alike. We’re supporting the home ent release with VOD and Digital activity, targeting home ent consumers and re-engaging fans from the theatrical campaign.”
The fledgling Picnik distribution and production outfit run by former Lionsgate, MGM and Disney executive Nicola Pearcey and partner Matt has followed its debut outing reported here, Vindication Swim, with the premiere and subsequent theatrical bow for homegrown – quite literally given its subject matter – comedy Swede Caroline. The film, released by Picnik working with Belstone, is what is increasingly becoming a rarity, a British comedy, a genre that has slowed in recent years but still has plenty of commercial potential, and, as the Guardian’s Peter Bradshaw noted “chaos reigns in this strange, funny and amiably anarchic mockumentary about dirty tricks in the cutthroat world of competitive marrow-growing”. (The Guardian even snuck in a “gourd for a laugh” pun, but we’ll ignore that.) As well as some strong reviews, it has also won the endorsement of Brit director Shane Meadows, who said the film has “all the hallmarks of a watch again (and again) British comedy classic”. Swede Caroline directed by duo Brook Driver and Finn Bruce, is out now at cinemas before heading to helm entertainment and, like Vindication Swim and Picnik’s next outing, Rebel Wilson starrer The Almond And The Seahorse, is a female-led film. Co-director and producer Finn Bruce told The Raygun: “It is so exciting to launch an independent comedy like this into the theatrical space; seeing the energy and support through event and Q&A screenings has been really refreshing. The positive and animated audience reaction has been palpable as we have travelled the country with this film, which only makes us more excited for bringing the film to its wider audience during the digital run to come in the next phase of the film’s life cycle.”
More on Old Gold Media, the new company formed by industry stalwart and former Fremantle and hmv staffer Pete Kalhan. He formed the company after exiting Fremantle himself as the company shuttered its home entertainment arm and has now inked a deal with his former employers that will see him releasing key items from catalogues such as the Thames Television library, bringing classics television titles back to physical media. The first batch of titles is due in May and take in Birds Of A Feather, Count Arthur Strong, Father Dear Father, The Kenny Everett Video Show, The Mayor Of Casterbridge and The World At War, with more to come. Sales and distribution is being looked after by Spirit and Kalhan told The Raygun: “I’m delighted to be able to continue my 25-year relationship with the Thames catalogue, having recently entered into an agreement with Fremantle to acquire the home ent rights. With my knowledge of the catalogue and Spirit Entertainment’s sales and back office team, the foundations are in place to successfully launch my new label, Old Gold Media, with an amazing catalogue. It all feels like a very natural way to continue working, whilst now having more time to go and support my beloved Wolverhampton Wanderers and attend a few more concerts.” Comment too came from Spirit’s Rob Callow, who said: “We are absolutely delighted to be supporting the launch of Pete’s new venture Old Gold Media with both physical and digital, sales and supply chain services. Having worked with both Pete and the Thames catalogue for many years, we are confident of delivering commercial success for our valued retail partners. Pete has some really exciting plans for the catalogue which team Spirit are very much looking forward to working on in the coming months and years.
Criterion has announced its June titles for release through Spirit, adding to its never-not-impressive Criterion Collection with a suitably eclectic line-up, Spirit’s Tracy Niland talked us through the selection, saying: “We’re excited to be releasing a bells and whistles version of Richard’s Linklater’s Slacker from a newly restored HD digital film transfer with a 2.0 DTS-HD Master Audio soundtrack. Also featured on the release are not one or two, but three audio commentaries, and a truckload of extra content including Linklater’s Woodshock short; his first full-length feature It’s Impossible To Learn To Plow By Reading Books; deleted scenes; reunions; home movies and a brand new essay plus much more. We’re very proud to be bringing a bells and whistles release of a title such as this to the market. Our other June release is first time on Blu-ray for Three Revolutionary Films By Ousmane Sembène, the trailblazing Senegalese film-maker who was hailed as the ‘father of African cinema’ and whose films introduced African film-making onto the world’s stage. Featuring new 4k digital restorations of three of his films from the 70s, this box set represents his fearlessness as a truth-teller who used the camera as his weapon of choice.”
Meanwhile Spirit has also put together a major Criterion promotion, its first tradewide offering from the imprint, as outlined by Tracy Niland, who said: “ We are also experiencing a couple of firsts at present, being in the midst of our first trade-wide promotion representing Criterion which features 4k releases for (another) first ever in the UK with Thelma & Louise, Guillermo Del Toro’s Pinocchio and The Last Picture Show proving very popular with customers. And fortunately we haven’t had to reduce Pinocchio’s nose in the packaging like the price! Launching last Monday alongside Criterion socials activity, we’ve seem tremendous uptake across the promoted lines and also a very positive effect across the rest of the catalogue to boot. Other popular titles include Le Samourai, The Irishman, Punch Drunk Love and, as expected, a number of Wes Anderson classics.”
A few weeks ago, we covered Eamonn Forde’s excellent new book 1999: The Year The Music Industry Lost Control, an excellent tome looking at a pivotal year in entertainment and entertainment retailing, taking in the launch of DVD and more. After this ran, one notable industry stalwart got in touch to let us know about His Master’s Voice, the recently published memoir from former hmv supremo Brian McLaughlin, who rose through the ranks after starting as a Saturday boy in a record shop at the age of 15, moving to hmv and then ending up at the helm. It’s a fascinating read and we’ve only skimmed through it. Much of the interest to Raygun readers will come in his talk not just of how video became an integral part of the retailer’s offering, but also of its 1990s rivalry with its entertainment retailing contemporaries such as Virgin and Our Price and the behind the scenes machinations with distributors over terms and more. He also details the growth of DVD, at one point noting: “In hmv it was announced DVDs would be launched in the autumn, ready for the huge Christmas trading period. hmv uk, under David Pryde, was doing extremely well, exceeding its targets and well on course for another great year. However, with the news of the DVD release we had the opportunity, if we moved quickly to steal a march on our competitors and grab a huge amount of market share. David and his team mapped out how much space we could afford to over to this exciting new products. Once that decision was made, David galvanised the company to roll out the plan as soon as the product became available.” He later noted how this helped “hmv exceed budgets by miles” and announce “staggering results”. There are further segments looking at, among other things, the now legendary hmv conferences for store managers. It’s a fascinating and recommended read, you can purchase it here. We’ll be interviewing Brian McLaughlin later this week, so expect more on forthcoming Raygun newsletters.
TRAILERS OF THE WEEK
This film is so exciting…
“It’s kinda dope, right?”
This week’s biggie…
This looks blinking good…
Due from Signature in May…
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