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UK PRODUCTIONS UP, ADMISSIONS RISE
REACTION TO STATS
BFI UNVEILS Q2 SLATE…
WITH LAWRENCE LEADING THE WAY
MONSTER APRIL FROM EUREKA…
…AND MORE MARTIAL ARTS TOO
POWERING UP
ENCANTO GROWS AS PHYSICAL RELEASE LANDS
HALF-TERM FAMILY TREAT
ACORN FINDS ITS SOULMATE
DIANA RULES
GODFATHER PULLS AUDIENCES BACK IN, AGAIN
BAFTA NOMINATIONS
QUOTE OF THE WEEK
AT THE MOVIES
TWEET OF THE WEEK
TRAILERS OF THE WEEK
It was a good week for… Disney's Encanto, on physical formats and on its way to becoming a bona fide phenomenon…
It was a bad week for… Jimmy Carr, stand-up comedians, Netflix and the Tories seemingly annuncing some kind of streaming legislation… Into February and still the figures looking at the past year in entertainment are landing on our desk at the Raygun. The latest missive came from the BFI, with its annual roiund-up of production in the UK as well as its look at UK box office. The production figures show another year of hefty growth while the box office figures, as highlighted in previous announcements, continue to show a recovery but are skewed by the pandemic. In film and high end TV production, the sector provided record levels of spend, with totals reaching £5.64 billion – the highest figure ever and more than £1 billion higher than the pre-Covid-19 2019. At £1.55 billion, film production was up three per cent on 2020, while high-end TV production saw £737 million coming from streaming platform productions. In box office terms, admissions reached 74 million in total, up 68 per cent on the previous year and it was, as the BFI noted, a year of two halves, to use the old football cliche, with No Time To Die leading the charge in the second part of the year, after cinemas were shut for much of the first six months of the year. Further insight came from a look at the split between blockbusters and indie productions. The BFI said: “The Bond film No Time To Die was the highest grossing film of the year with £96.6 million. The top 20 films of the year collectively grossed £441 million, accounting for 73% of the total box office; the top 20 UK qualifying film releases grossed £234 million; and the top 20 qualifying independent films releases grossed £26.8 million. The top grossing UK independent film was The French Dispatch, which undertook some of its production work in the UK.” Comment came from numerous sources, Given recent events and her outbursts, we’re not going to quote the culture secretary Nadine Dorries, but BFI Chief Executive Ben Roberts said: “The record-breaking level of film and TV production in the UK revealed today is good news for our industry and the UK economy and demonstrates the speed of the sector’s recovery. The groundwork for further growth is underway with expansion of studio spaces and production hot spots across our nations and regions, and working with industry to build up the skilled workforce that we need to meet demand and stay on top of our game. Government support for production with the screen sector tax reliefs and the Film & TV Production Restart Scheme have played an important part in the industry’s growth and recovery. The Culture Recovery Fund has been a lifeline for independent cinemas and it’s great to see audiences returning to the big screen with Bond and Spiderman leading the way with phenomenal success and independent UK films, such as Spencer, offering such a range of different cinematic stories.” Adrian Wootton OBE, Chief Executive of the British Film Commission, said: “The demand for content has never been greater. As today’s figures show, the UK is enjoying a once-in-a-generation growth in production. The benefits are being felt right across our nations and regions, with large scale investment in infrastructure and revenue into UK plc that will directly benefit local communities. Existing production hubs are growing to accommodate the demand, and new hubs are developing throughout the UK, bringing with them thousands of new jobs. The BFC is proud to have provided support to projects and companies accounting for 94% of the total inward investment high-end TV spend, and 90% of inward investment feature film spend in the UK in 2021. We and our partners are determined to harness this phenomenal demand and support an ever-widening workforce to produce world-class content for global audiences.”
Sticking with the BFI and the organisation’s home entertainment arm has already teased some of its 2022 releases as part of a year-end announcement and it has now offered up more detail of its titles due to land in the second quarter of the year – and a pretty impressive and diverse line-up it is too. The quarter kicks off with the legend that is Nigel Kneale’s classic take on George Orwell’s Nineteen Eighty Four in April. It’s an early take on the masterpiece and ties in with a season marking Kneale's centenary at the BFI SOuthbank. As you’d expect from the BFI, the programme has been “newly restored by the BFI using original film materials from the BFI and BBC archives” and is a “much sought after television milestone”. On the same day, there’s Liv Ullman’s Faithless, directed from an Ingmar Bergman script and another release tying in with a Southbank season. The end of the month sees a brace of Francois Truffaut films, with The 400 Blows following on from January’s theatrical re-release, sitting alongside Jules Et Jim. Into May and there’s a first time Blu-ray release for Marlon Brando’s debut film The Men, as well as two further Truffaut releases (Le Peau Douce and The Last Metro). June sees a re-release for the acclaimed and truly magnificent Alan Clark At The BBC boxset (albeit with two titles not included in the original) and, an eagerly awaited title for us at The Raygun, Lawrence Of Belgravia, the documentary charting the life and times of the indie icon singer Lawrence, who, despite fronting three seminal bands over 40 years in music (Felt, Denim and Go Kart Mozart) is still miles away from being the pop star and household name he craves. And finally, June also sees the return of the BFI Flipside imprint with the release of The Appointment, a much-requested cult horror tale starring Edward Woodward.
Comment on the BFI’s Ben Stoddart, who said: “We’re delighted with the reaction to our latest announcements, particularly as they include titles that have long been requested like Nineteen Eighty-Four and The Appointment. It’s another eclectic line-up with classic arthouse titles like Faithless and The 400 Blows alongside the documentary Lawrence of Belgravia, classic television and the 44th title in the long-running Flipside series. Work is underway on everything to ensure that fans get the editions they crave and of course everyone should buy Nineteen Eighty-Four….because Big Brother is watching you…”
Meanwhile, there’s more forthcoming titles with the announcement from Eureka Entertainment of its titles due in April of this year, As ever it’s the usual mixed bag, with classic monster films and more martial arts. As ever, here’s the company’s national accounts manager Marcus Garwood to talk us through its titles. He said: “Its time to crack open our basket of Easter Eggs here at Eureka Entertainment as we proudly unveil our April 2022 slate. First up we dive into the Universal Pictures vaults to bring you a trio of sci-fi monster terrors, namely 1941's Man Made Monster (directed by George Waggner), 1957's The Monolith Monsters (directed by John Sherwood) and 1958's Monster on the Campus (directed by Jack Arnold). With genre legends such as Lionel Atwill (Son of Frankenstein), Lon Chaney, Jr. (The Wolf Man) and Grant Williams (The Incredible Shrinking Man) providing the onscreen thrills. Three Monster Tales Of Sci-Fi Terror will be encased in a limited -card slipcase (first print run of 2000 copies only) which also contains a limited edition booklet featuring new writing on the films included in this set by film scholar Craig Ian Mann.”
Continuing with April’s Eureka releases and the company’s Marcus Garwood said: “Majestic action sequences and superb physical comedy next as we present 1981's martial arts cult favourite Dreadnaught. Directed by legendary action choreographer Yuen Woo-ping (The Matrix; Crouching Tiger, Hidden Dragon) and starring Yuen Biao (Project A), Bryan Leung Kar-yan (Warriors Two), and Yuen Shun-yee (Iron Monkey) Dreadnaught is an entertaining and visual treat which makes its UK debut on Blu-ray from a brand new 2K restoration! This limited edition release features an o-card slipcase with new artwork by Darren Wheeling, plus a collector’s booklet featuring new writing by James Oliver. Disc extras include a brand new feature length audio commentary by Asian film expert Frank Djeng (NY Asian Film Festival) and a brand new feature length audio commentary by action cinema experts Mike Leeder and Arne Venema. The classic martial arts action continues as we round out the month with the Sammo Hung directed 1979 gem Knockabout. The film makes its UK debut on Blu-ray from a brand new 2K restoration and stars Yuen Biao (The Prodigal Son), Bryan “Beardy” Leung Kar-yan (Warriors Two), and Lau Kar-wing (Odd Couple). This fast and furious kung fu comedy classic features one of the greatest action finales in the history of Hong Kong cinema and is not to be missed. The release features a reversible sleeve design featuring the superb original poster artwork.”
In little more than five years, Powerhouse Films has turned itself into the kind of dynamic, growing company that its name suggests, with its Indicator series of titles helping it to release more than 300 titles. IIt has built a business on wonderful transfers and re It has also expanded its partners and places it sources the kind of classic films it releases in that time, as well the not-inconsiderable natter of launching a US arm too. It is now further expanding too, with news that former senior Sony Pictures executive and experienced industry hand Aodan Coburn to act as non-executive director for the company. Coburn, most recently md for the UK arm and head of international for Sony Pictures Home Entertainment, boasts strong industry knowledge on these shores and beyond. John Morrissey, Founding Director Powerhouse commented: “As we continue our brilliant journey that has been Powerhouse Films, the addition of Aodan to our board – with his vast industry knowledge, international network, and exceptional commercial acumen – sends a clear signal of our intent to accelerate the growth of Powerhouse, in terms of content, geography and platforms.” Sam Dunn, Founding Director Powerhouse commented: “When we first approached Aodan with the concept of setting up Powerhouse, his confidence and support really made the difference. Having him now on our board, with specific focus on our strategic growth, will not only be a lot of fun, but a game changer for us and our partners.” Aodan Coburn commented: “I was delighted to be approached by the Powerhouse team. What John and Sam have achieved in the last six years, through hard work, integrity, and an absolute focus on quality, is amazing. Their recent move into the US also makes their continual commitment to growth clear. I am absolutely delighted to be able to support them on this next phase of their exciting journey.
Disney’s Encanto arrives in stores on Monday February 7 and despite already appearing on the company’s Disney+ service, the ever-growing Colombian phenomenon has built up such a head of steam that it stands a strong chance of performing better than many might have considered a few weeks ago. The run-up to the physical release has seen the animated tale set more records – it is now the first film soundtrack to have three songs lifted from it appear in the top 10 UK singles chart in the same week, headed by We Don’t Talk About Bruno, which is keeping Ed Sheeran off the top slot. Moreover, views and plays of songs and sons from the film are now running in to the billions across streaming services and social media. As a Guardian piece on the phenom noted: “‘My kids LOVE it!’ ‘It’s MASSIVE in our house!’ The WhatsApp group for my daughter’s reception-year class – usually home to messages about lost school jumpers and tips for half-term clubs – explodes into emojis and capital letters at the mention of Disney’s Encanto. One obsessed eight-year-old has learned the words to all the songs – and so have most of their classmates. A’s five-year-old is demanding to know how to say the words in Spanish. Encanto-mania is taking over kids’ lives. Two months after its theatrical release, Encanto is an unexpected Disney hit – a cultural moment and craze. Plenty of families I speak to spent Christmas watching it on repeat, playing the songs from breakfast to bedtime. The cumulative global total of streams from the soundtrack is 1.5bn.”
Also in stores on Monday is the latest from Universal, as Monster Family 2 is delivered to stores. The animated sequel is arriving in time for the half-term holidays, and, as Universal’s Johanna Beaven said: “‘Releasing on Monday is MONSTER FAMILY 2 on DVD and Digital and we’re excited to see the return of the Wishbone family as they transform into monsters once again. To make this release special and offer extra value for money, the original film MONSTER FAMILY is included on a bonus disc offering parents more than three hours of monstrous content to keep the kids occupied this half term!’
With Valentine's Day fast approaching, Acorn is putting its own spin on the most romantic day of the year with a Monday February 7 release of an all-together different kind of smoochy title. Soulmates is a sci-fi anthology about a company that promises two find the perfect partner and each self-contained episode offers up a unique take and the series boasts an impressive cast f familiar faces, including the likes of Succession’s Sarah Snook. Commenting on the release, Acorn’s Helen Squire said: “Soulmates provides us with an alternative take on Valentine’s Day gifting. This sci-fi anthology presents six standalone love stories in a world where a simple test can reveal your true soulmate. Would you take the test?”
In a crowded field this year, Spencer still stands a chance of scoring big when it comes to Oscar nominations when they Academy announces its 2022 nods on Tuesday February 8. And those Oscar nominations make the Monday February 7 release of the Princess Diana biopic, helmed by Chilean Pablo Larain, all the more timely. Critics and audiences have been buzzing about the film since the feverish activity around its Cannes premiere last year and Kristen Stewart’s performance has wowed everyone. Commenting on the release, from STXfilms UK through Elevation, the company’s vp for marketing Kate Willoughby said: “We’re really proud of SPENCER and excited for the film to reach its widest audience now it’s available on all formats on Home Entertainment. To support the release on both physical and digital formats, we mounted a digital-focused campaign across Social and YouTube.”
When you’ve been in the business as long as we at The Raygun have been, you’d have noticed plenty of different iterations of The Godfather coming through, but few of these can compare to the lavish box set due from Paramount in March. It’s a thing of great beauty, retailing at around the £120 mark, and containing the films on Blu-ray AND 4K and a cast of extras. The box is part of re-releases carefully timed around the classic film’s 50th anniversary. The first film will release theatrically in cinemas on the 25th February followed by Godfather II and Mario Puzo’s The Godfather, Coda: The Death Of Michael Corleone in sequential weeks. On March 21 the lavish set and other SKUs will be released. What’s more, in a rare occurrence, movie mag Empire has devoted its front cover to the film (a rarity for a catalogue title when it’s normally dominated by comic book blockbusters and more) and includes a mammoth celebration of Francis Ford Coppola’s seminal trilogy in its current issue, which should fire up consumers ahead of the home ent push. As the magazine noted: "Five decades. That’s how long it’s been since Francis Ford Coppola first gave cinemagoers an offer they couldn’t refuse: a movie masterpiece that’s at once an operatic gangster flick, and also a sweeping exploration of family ties and America itself, bursting with incredible performances, none-more-iconic sequences, and widely considered to be one of the greatest films of all time. It’s fair to say that The Godfather changed everything – and 50 years later, it’s still the Don.” Oh, and if that all that wasn’t enough, the forthcoming arrival of TV series The Offer, a dramatised account of the film’s making, is on the way and the trailer for it has been released this week, further heightening Godfather interest. You can see the trailer here.
Oh, and in case you missed it, the BAFTA nominations are out. Omissions, surprises, lots of back-slapping and loads more, you can peruse the list of nominees and nods over here Among the first out of the blocks to celebrate was the BFI Film Funs, congratulating its two big titles given nods, Ali & Ava and After Love. Mia Bays, Director of the BFI Film Fund, said: “We send our congratulations to all today’s 2022 BAFTA nominees, but we are feeling especially proud of the brilliant BFI-backed titles that have been recognised today. The recognition of films that offer fresh perspectives and rarely-seen representations show the industry is not just embracing but celebrating difference. We’re thrilled for the filmmaking teams – the nominations are thoroughly deserved. It has been an incredibly tough period in which to get a film made and so it feels like a monumental achievement for them to get to this stage, and credit too to the BFI Film Fund team who have supported them throughout the unusually difficult journey.” Also celebrating were Apple TV+ with nominations for Coda, Swan Song and The Tragedy Of Macbeth, Disney with 21 nods and BBC Films, which also backed Ali & Ava and After Love as well as The Power Of The Dog and Cow. Rose Garnett, Director of BBC Film, said: “We’re so thrilled that the incredible work of talent on BBC Film-backed titles, including The Power of The Dog, After Love, Ali & Ava and Cow, has been recognised by Bafta voters. The breadth of nominations reflect our support for British filmmaking talent at every level, and our international partnerships to help bring outstanding storytelling to audiences in the UK and across the globe. Congratulations to all the nominees and best wishes for the awards ceremony.” The ceremony takes place on March 13.
QUOTE OF THE WEEK
“We are looking at a future bill coming forward soon, looking at measures to bring into scope organisations like Netflix because what Jimmy Carr said was both shocking and abhorrent and unacceptable. We don’t have the ability now, legally, to hold Netflix to account for streaming that but very shortly we will.”
We didn't quote culture secretary Nadine Dorries in the BFI piece above, but are her comments on the Jimmy Carr furore saying that there’s going to be new streaming classification legislation? Is there a plan? Is it a knee-jerk reaction? Who knows…
This never happened when stand-up comics were making DVD rather than streaming releases… AT THE MOVIES
It’s been a busy week for Shudder with the international horror streaming service making a brace of big announcements. First up it confirmed that Night’s End, a tale of an exorcism gone wrong in a spooky apartment, will debut on the service in the US, UK and other territories, on March 31. The film, which stars, among others, the greatest living actor currently working in Hollywood, Michael Shannon, and is directed by Jennifer Reader, who worked on V/H/S 94, which ha proved to be a huge hit on the streaming service. “Jennifer Reeder is an exciting and bold filmmaker who was an integral part of V/H/S/94, Shudder’s most watched movie ever,” said Craig Engler, general manager of Shudder. “Night’s End is eerie but human, sharply written and sure to surprise our members this March.” Reader added: “As a longtime Shudder fan, I am deeply honoured to now be part of the Shudder fam! I've made two Shudder films this year, which feels like a dream (although both films play out more like nightmares). Throughout the process of making these films with Shudder, I have felt enormously supported and my creative vision protected and amplified. Shudder cares as much about filmmakers as they do about films which is a rare and coveted combination.”
Also from Shudder, and the service has acquired The Cellar for release, with the film airing on the service in mid-April. Directed by Irish helmer and writer Brandan Muldowney, The Cellar stars Elisha Cuthbert as a mum whose daughter disappears through the titular basement of their new home. It will debut on the service after premiering at SXSW and also closing the Glasgow arm of FrightFest. “The Cellar is a riveting story that we think will appeal to both horror lovers and broader audiences alike, and we’re delighted to work with RLJE Films to bring it to the widest possible audience,” said Craig Engler, GM of Shudder, “Brendan and this talented team have crafted a dark and haunting tale that we’re excited to share with audiences this April.” “Ever since we made the short film The Ten Steps, which The Cellar is based on, I have seen the profound effect and power it has had on audiences,” said Muldowney. “I am really excited to be working with Shudder and RLJE Films in bringing this feature-length version of the nightmare to a wider audience.”
And the dream is finally real: David Lynch is set to appear in a Steven Spielberg film. The oddball director will be on the other side of the camera for Spielberg’s forthcoming tale of a boy obsessed with become a filmmaker The Fabelmans. Sometime actor and all-round renaissance man Lynch Jons a cast that includes Michelle Williams, Seth Rogen and Paul Dano, with the film due before the year is out…
TWEET OF THE WEEK
Follow us on www.twitter/com/theraygun…
TRAILERS OF THE WEEK
Netflix’s big film preview…
And there’s also this from Netflix…
Due from Lightbulb…
Tray-luh
The film they tried to banlieue (a joke for our French readers there)… https://youtu.be/abXPAZvkSCw
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