What's UP At The Movies - by Seymour Flix

Alibaba Gets Into Movies

Alibaba, the Amazon of China, started producing movies some time ago but the latest news is that it is going to build cinemas in which to screen them. Alibaba Pictures Group, a subsidiary of the Chinese e-commerce giant, will now be film producer, distributor, and exhibitor.

Although the box office growth within China has slowed, Alibaba, as well as, the Wanda Group (the large Chinese real estate developer and owner of the U.S. based AMC Cinemas chain and Legendary Studios) are betting that the Chinese theatrical box office will resume its rapid growth.

At the end of 2015 China had 31,600 cinema screens,  By the end of this year that number is expected to reach 40,000 - about equal to the U.S/Canada count but with 4X the population and lots of room for expansion.

Alibaba Pictures Group, CEO Zhang Qiang told CMG, "The company plans to build an integrated platform in the movie business and cinemas play a integral part in that."  To that end Alibaba recently set up a $300 million cinema investment fund.

Hollywood on the Chinese Menu

Speaking of the Wanda Group, they have been on in entertainment industry buying spree and there seems to be no let-up in sight.

Wanda Chairman, Wang Jianlin even stated, "My goal is to buy Hollywood companies and bring their technology and capability to China."  Although not forthcoming on the next acquisitions, a stake in scandal-ridden and ill-managed Paramount Pictures could be in the making.  "We are interested not only in Paramount, but all of them.  If one of the big six would be willing to be sold to us, we would be interested. Only the six are real film companies."

In addition to the $3.5 billion Legendary purchase, Wanda, this year, paid $3.4 billion for an 'entertainment' development in Paris, a $10 billion investment in an industrial/entertainment park in Haryana, India,  the $1.1 billion  purchase of European cinema chain Odean/UCI, and the pending purchase of U.S. chain Carmike Cinemas.

CMG has often written on the changing face of the global entertainment industry, particularly the cinema sector, and it is becoming reality.  Pouring billions into cinema related entities bodes well for the future of the cinema but these investments haven't seen any real return.  The Chinese are astute investors but it is the creative community that drives the cinema business.

Science and the Cinema

The Academy of Motion Pictures Arts and Sciences puts emphasis on the Arts and the Sciences goes virtually unnoticed by moviegoers; however, it's the Sciences that push the industry forward. This year there are 12 science and technology categories which will be considered for Awards:

- High Resolution D-Cinema Cameras
- Motion Control Software 
- New Wireless Microphone Technology
- Computer printed, seamless Screen Backdrops
- Camera Flange Depth Measurement Devices
- Programming Language for Production Rendering
- Physically-based Shading and Light Transport
- Real-time Drawing Tools for Sketching and Makeup in Film Production
- Fast-reset Bullet Kit for Live-action Production
- On-set, Real-time Camera Tracking
- Electrode-less Plasma Arc Lamps
- Renderable, Life-sized Animatronic Horses

The final Awards will be presented on February 11, 2017.

 If it's all Greek to you don't worry, but keep in mind that it's the science and technology of film-making that is responsible for today's high-tech, action-based blockbusters.

Best,
S. Flix

Animation to Live-action Films

The last few posts to CMG covered several trends regarding animated movies, and I wanted to talk about another - the industry's trend of turning animated assets into live-action remakes.  Disney, for example, has 'converted' or 'remade' 'The Jungle Book', 'Maleficent' and has several, such as, 'Beauty and the Beast', 'The Little Mermaid', and 'Dumbo' in the remake-works.


The studios have a huge reservoir of animated assets going back decades, providing excellent, ready-made story-lines which are known by consumers across the globe. In fact, Variety conducted a survey which asked which animated movies deserved a live-action remake. The results:

1. The Lion King
2. Other
3. How I Trained My Dragon
4. Spirited Away
5. Shrek
6. Fantastic Mr. Fox

If your favorite wasn't listed don't fret, the animated remake is here to stay and there are plenty of outstanding films that beg for a live 'convert'.

'R' Rated Animation and It's Big Future

'Sausage Party' had a very difficult time getting distribution.  At a cost of $19 million, Seth Rogen and Evan Goldberg, owners of Point Grey Pictures, finally got Sony Pictures to co-produce and distribute. With an opening weekend of $33.6 million and a total gross of $43.6 million after its first week, this film has good legs and should stay strong throughout August.

What the adult animated movie does is fill a void in the cinema market. As is often stated in CMG, audiences are yearning for a fresh cinema - movies that are creative and innovative.

'Sausage Party' is a rare film in that there have not been many adult animations.  'South Park:Bigger, Longer, & Uncut' (1999) was the most successful of this rare breed and grossed over $83 million! Unfortunately, the major studios (which produce virtually all of the animated films) use the genre as family-friendly.  With huge production budgets the studios go for 'G', 'PG', with a rare 'PG-13 rating'. For the most part, animation equates to Disney. The issue is that 'R' rated animation must be marketed heavily as adult entertainment so it's not mistaken as a kid's film.

This summer saw another adult animated film, 'Batman: The Killing Joke'. Green-lit by Warner Bros. as a direct to video product it did get a very limited theatrical release (two days) but grossed a whopping $3.8 million!. This box office success did not go unnoticed at WB and other projects are now in the works.

Point of fact, the movie studios are behind the curve when it comes to adult animation.  This form of entertainment is thriving with the internet streamers.  Netflix has been capitalizing with a very loyal audience following for its 'Bojack Horseman', or FX's 'Archer', or the Cartoon Network's 'Adult Swim' are all very successful shows.

The big plus for the producers is that every animator wants to work in 'adult', be it at Warners, Disney, Sony or any other studio.  For decades the animation community was told what they could or couldn't do - now they can have full creative freedom and they all want it.

2nd Class Superheroes

How Superheroes rank

Akin to 'A' list and 'B' list actors, superheroes have reached a point where their swelling numbers demand a ranking.  Ironman and Captain America from the Marvel stable of heroes and Superman and Batman from DC Comics are at the top of the heap - garnering the most fans and biggest box office, these superheroes have carved a huge hole in the super genre.

Superman and Batman have been around for some time and are known to moviegoers - young and old alike. Superman first appeared on the big screen in 1978, with Christopher Reeve. Batman in 1989 with Michael Keaton.  Ironman first appeared in 2008 and Captain America in 2011. Other big superhero names include X-Men (2000), which spun-off Wolverine and Deadpool and, of course Spiderman (2002).

Many others have come and gone (or are dormant) such as: The Shadow, Blade, Spawn, Green Lantern, Ghost Rider, Catwoman, Daredevil, Hellboy, The Crow, The Punisher, and Green Hornet. While others have become 'B' listers: The Hulk, Thor, Ant-Man, Flash and the Fantastic Four.

Up-and-comers will be the reconstituted Wonder Woman, Dr. Strange, and the new Black Panther, and Captain Marvel.  Others are on the cusp, let's call them B+ers: Mutant Turtles, Watchmen, and the Avengers.  The newly screened Suicide Squad has hit it big at the box office but a sequel will tell whether or not it will be an 'A' lister.

Now there have been superheroes themes that were thrown against the wall but didn't stick, such as:

Middle-Aged Man, who has the power to jump-start cars and comprehend mortgages.

Mystery Men, a-la the Avengers or X-Men but includes: Blue Raja, who throws cutlery, Shoveler, who carries a shovel, and Captain Amazing, who knows what he/she does.

 and, Apathy Man, who has all the powers of Superman but can't be bothered to use them.

Best
Jim

What's Up At The Movies - by Seymour Flix

Art House Theater Day

Saturday, September 24th will be the debut of Art House Theater Day which will celebrate the independent, community-based movie theater.  It is a day that recognizes the contribution that the art house cinema has, and continues, to make to film, filmmakers, and film-goers.

A global event, over 160 U.S. art house theaters are participating, as well as, theaters in Canada, Australia, and Estonia.  Several film distributors are offering exclusive programs that can only be viewed at a participating art house.

Art house theaters are unique in their approach to movie exhibition in that they support films which otherwise would never be seen by the public. They represent the counter-culture to mainstream cinema and have a loyal following of patrons that love dramas, documentaries, and films covering social topics which are not screened elsewhere.  If you are lucky enough to have an art house theater in your area I urge you to support it and recognize that it is providing an entertainment alternative that, in most cases, expands the bounderies of film-making.

Redford At 80

Redford at 80, still going strong

Sticking with the art house theater theme, Robert Redford (dubbed the 'Godfather of the Indie') will be turning 80 next week. The two time Oscar winner and founder of the Sundance Film Festival has been in the movie business for over 50 years.

In a recent interview, Redford expressed his opinions regarding current issues facing the industry. On Oscar diversity, "I'm not into Oscars.  I'm not into that. I'm not focused on that. For me it's about the work. Diversity comes out of the word independence.  We don't take a position on advocacy. It's tough for films in general.  There are all sorts of threats to distribution."

Redford founded the Sundance Festival (now one of the world's largest and best) in 1981 and says, "My goal for Sundance was for it to serve as a platform to elevate documentaries. Independent films survive because of their value and because there are independent theaters that keep that survival going."

Starring in the just released Disney film 'Pete's Dragon' Redford says the film "bucks the trend in fantasy films" in that it is a story based on magic and imagination, both of which are sorely lacking in the current superhero movies.  Redford has starred in 43 films, directed 9, and narrated 26 others.

Happy Birthday Bob!

Under The Radar

Gibson in 'Blood Father'

The new Mel Gibson film, 'Blood Father' could (should) be a real sleeper and is a box office gem. The film is really very good and is in the genre of a 'Taken'.  Gibson plays an aging ex-con who makes a living as a tattoo artist.  When his daughter gets into trouble, it's Dad to the rescue.

Gibson is at his best in this film - that maniac facade a-la 'Lethal Weapon' coupled with the fatalistic demeanor of "Mad Max' or 'Payback'. Now in limited release, watch for it as it may become the next cult classic.

BACK IN BLACK

Last month I posted that, thus far, the summer of 2016 was a box office flop but that it would make a comeback - and as predicted, the box office has roared back.

Coming off a $120+ million week, with the opening of  'Jason Bourne', it was followed up with the staggering opening of 'Suicide Squad' at $135 million - which has set the stage for a very good summer box office.

Although 'Suicide Squad' received very bad critical reviews, moviegoers were undaunted.  There was a real disconnect between the critics and audiences - which loved the film and gave it an overall B+ rating.  Those under 18 gave it an A rating.

At a cost of $175 million, Warner Bros. has a big hit but now needs to figure out if the DC Comics sourced film can match-up against Disney/Marvel franchises like Batman or Superman.  With 'Suicide's' gross, Warner Bros. crossed the $1 billion domestic box office mark for 2016 - the only studio to accomplish this 16 years in a row.

The 'Suicide Squad' is a team of super villains which do good for money, and it appears that they have struck the right cord with moviegoers.  54% of the audience were men, with over 50% of these under age 25.  The film was released on 4,255 screens and 381 IMAX locations. 'Jason Bourne' finish 2nd last week at $22 million, with 'Bad Moms' taking 3rd with $14.2 million.

For 2016, the dog days of summer are turning out to be manna from heaven as this weekend's domestic gross topped $230 million. People love going to the movies but they need a reason to visit - this week the reason was 'Suicide Squad'.   For the remainder of the summer the reasons will be: 'Pete's Dragon', 'Sausage Party', 'Ben Hur', 'Kubo and the Two Strings', and 'Don't Breathe' .

See you at the cinema.
Jim 

Concissions - Concessions - Concessions

Frappa-whatevers are very popular

In real estate it's all about Location. For cinemas it's all about Concessions. Now, more than ever, food and food related topics are everywhere. Today it's not just about eating but eating different. Food has entered the fast changing world of trends - organic, gluten-free, zero calorie, free-range, whole grain, locally sourced, etc. and cinema concession is no exception.

What food items cinemas sell and how they are marketed is critical to maintaining and boosting concession profits.  What was a big seller yesterday may no longer be in vogue today.  We all know that traditional sodas have been on the decline for sometime, being replaced by energy drinks, flavored smart waters, tea-based beverages, and caffeinated drinks - such as cold-brewed coffee and frappa-whatevers.  For better or worse consumers' tastes and preferences change and cinemas must embrace these changes (which run through all age groups: from baby-boomers to generation Z'ers). Resisting change not only hurts sales but leaves the impression that your cinema is 'dated and out-of-touch'.

Popcorn sales are a cinema's main concession profit-generator and will remain so; however, all other concession items should be reassessed and eliminated/substituted if warranted.  The introduction of new products is essential and it is easy to determine which new products are winners and any concession item that doesn't sell must be dropped!

Like beverages, tastes in candy has also changed.  A significant segment of consumers have tired of the same old candy selection mix and have moved up-stream to the likes of Dove and Godiva.  While, nuts and dried fruits have become go-to candy substitutes and gelato the ice cream alternative.

Very cinema should take a hard look at their concession product mix. Analyze per-cap sales and compare it to prior years.  Even if the per-cap is increasing changing the mix may generate even more revenue.  Be critical.  Get staff input.  Query patrons on what products they would like to see made available and would purchase.  Concessions are the life-blood of any cinema so a great deal of time and effort must be placed on getting the mix right, introducing new products, and keeping your patrons happy and eating.

They Can't Win For Trying

Landsbury, now 90, never won a major award

With all of the squabbling about Oscar diversity, one thing is clear - there's certainly diversity in those actors who have never won either an Oscar or Emmy and which come first to mind when discussing Hollywood's finest.  Representing some of the hardest-working, dedicated, and very well known actors whose films have generated mega-box office bucks.  Here's the surprising list:

Tom Cruise: 3 Oscar Noms. / 0 Emmy Noms.
Angela Lansbury: 3 Oscar Noms. / 18 Emmy Noms.
Brad Pitt: 3 Oscar Noms. / 1 Emmy Nom.
Scarlett Johansson: 0 Oscar Noms. / 0 Emmy Noms.
Harrison Ford: 1 Oscar Nom. / 0 Emmy Noms.
Will Smith: 2 Oscar Noms. / 0 Emmy Noms.
Gary Oldman: 1 Oscar Nom. / 1 Emmy Nom.
Johnny Depp: 3 Oscar Noms. / 0 Emmy Noms.
Samuel L. Jackson: 1 Oscar Nom. / 0 Emmy Noms.
Amy Adams: 5 Oscar Noms. / 0 Emmy Noms.
Max von Sydow: 2 Oscar Noms. / 2 Emmy Noms.
Sigourney Weaver: 3 Oscar Noms. / 3 Emmy Noms.
Edward Norton: 3 Oscar Noms. / 0 Emmy Noms.
Steve Buscemi: 0 Oscar Noms. / 6 Emmy Noms.

The actors on this list have pretty much done it all and played a huge diversity of roles - they just don't seem to be well liked by the awards folks.  Critics, the press, and fellow actors should stop grumbling about awards diversity and why so-and-so didn't get such-and-such and reflect on this list of non-winners.

Summer Doldrums For Big Theater Chains

In the last several posts I noted that this summer's box office has been lackluster - a few big hits but overall a tight squeeze for most films including a number that were deemed to be blockbuster material.

To bolster my contention that moviegoers are tired of the same-old, AMC Theaters, the U.S.'s 2nd largest movie circuit, issued a statement reporting that they will be reporting "seriously diminished financial results" for the second quarter and see no upswing in the third quarter as well.  AMC takes no blame for their poor performance but puts it squarely at the door of the studios and their "poor film selection currently available for public consumption."

Now, while I tend to agree with AMC on the slate of films offered up this summer as being ho-hum, and more of the same - all of the blame can't be on the studios. As I recollect AMC put mega-bucks into down-sizing their overall seating capacity at its cinemas. Installing large reclining chairs and, in some cases, reducing overall seating by 40%. The less is more theory. Additonally, AMC is reporting that their per-capita concession is also down - and that rests squarely on AMC's shoulders.

Let's face it, moviegoers have been in the doldrums regarding movies this summer, and coupled with security issues and increased home entertainment options the act of going to the cinema is far less appealing unless there are compelling films, ie; Jason Bourne, Star Trek Beyond, and Bad Moms which grossed over $100 million at the U.S. box office this past weekend.

Regardless of the poor summer showing movies are still the best entertainment value and there is nothing comparable to the big screen experience. Moviegoers will flock to see good films and they will be back.

Cinemas Will Survive, BUT

There are large drawbacks to on-line, first-run films and to virtual reality content; however, movie exhibitors need to protect the cinema experience they have in place and improve upon it.

High frame rates, and screen brightness levels are critical, and sound improvements are necessary at all cinemas.  Even the smallest local movie theaters need to provide the absolute best possible experience - and they are not there yet!

Cinemas need to protect what they have and better it. Digital projection was a great leap forward in movie presentation and as far as value- based entertainment a trip to the cinema is worth the cost - there is no alternative to a superior cinema presentation, now or in the future.

Movies need to be brighter.  Too many cinemas under-lamp there presentations, when the reverse should be the norm.  All cinemas should be projecting with the highest wattage, brightest lamps and replace them at (or before) warranty limits.  The old, and now defunct 35mm LucasFilm THX cinema calibration and alignment program has been replaced by the use of a reliable and competent cinema dealer/tech company - which are getting harder and harder to find given the complexities of the digital projection and sound systems.

Piracy is another issue that continues to impact the whole cinema industry in a very negative way. A lot of movie content is pirated almost immediately upon release.  File sharing is file stealing and nothing more.  Pirates are making millions of dollars from people going to torrent sites and down-loading movie files. The notion of, "I'll just wait and stream it and I don't have to pay for it" really hurts both movie distributors, but particularly the independent exhibitor.

It is also true that many of these same, let's call them mini-pirates, don't understand or refuse to that watching a movie on a small platform isn't watching the movie as it doesn't have the intended visual or audio experience.

Cinemas, will survive, but both the studios and exhibitors need to understand that the old ways will not be tolerated by consumers, who demand an experience that exceeds what they can watch (in many cases for free) on a smaller (be it inferior) platforms.

A Very Different Summer Box Office

Thus far, this summer's box office has seen a number of big-budget flops. 'The BFG', 'Alice Through The Looking Glass', 'Warcraft', 'The Legend of Tarzan' each with production budgets above $130 million, not to mention marketing and distribution costs, spells not so good news for the studios.

The cinema box office is showing strains, and as CMG has pointed out before, the superhero and fantasy sequel films may have run their course.  Now, not to be too negative, this summer has seen big hits as well.  'Finding Dory' and 'Captain America' helped rise box office receipts by 2% over 2015, but admissions are down which does not bode well - and it's the younger audience (18-39) that is staying away.

It is too much of the same. Audiences can only digest so many super hero films.  Moviegoers need something new and fresh on the big screen.  Coupled with endless competition from TV and on-line content (which is getting better and better) there is little incentive to visit the local cinema.  From Netflix to Pokemon Go the variety of entertainment options is huge.

Much of the box office pain is self-inflicted, by both the studios (repeating the same movie themes over and over) and the exhibitors (in their lack of imagination and originality in selling their cinemas).  Thank goodness for 'The Secret Life of Pets' which essentially rescued July's box office.

Sequels - there are too, too many and people are sick of seeing the same old, regurgitated films. Most sequels are 'deja vu' all over again.  Reboots flock to the big screen in mass: 'Ben Hur', 'Blade Runner', 'Spider Man', 'XXX', 'Beverley Hills Cop', and 'Indiana Jones' just to name a few that are coming up - and which may fall flat as well. Movies need good storylines, a la 'Fast and Furious' which is based around characters who audiences associate  and relate to.

The box office is getting more skewed each year. Last year, the top five movies generated 25% of all admissions.  This is seen at the studio level as well. Disney ponied up $15 billion to purchase Pixar, LucasFilms, and Marvel but their investment is paying off.  This year, Disney has four of the five highest grossing films and thus far over $5 billion in box office receipts - a 31% market share.

All of which begs the question: does Hollywood need consolidation?  Fewer studios, fewer but better movies. Eliminate the waste, the marquee fodder and box office fillers. Stop making movies that were made 10 years ago.

The movie making business and cinemas are up against changing tastes, unyielding competition, and an aging business model. A wider and deeper range of fewer movies is called for and, for their part, cinemas need to keep up with presentation technology.

Horror: Cinema's Stepchild

Horror has even gone comedic

Horror films many times go under the radar as box office bruisers. Particularly in the summer-time there is nothing better when visiting a cool, comfy place (your local cinema) and screaming your head off - as a tension and stress reliever there is nothing better.  Being scared is an adrenaline rush.
Given this, moviegoers' appetite for horror is unrelenting and is second only to the high-impact, action, superhero, or sci-fi blockbusters (many of which teeter on the horror genre cusp).

Horror vs. supernatural, the distinction is very blurry.  Horror's function is to scare through the use of anticipation.  Waiting for the inevitable, frightening, sometimes unspeakable acts of violence toward the innocent and vulnerable.  The supernatural, a sub-set of the horror movie, delves into the more unreal but still frightening - vampires, zombies, aliens, mutant animals are all part of the supernatural.

This summer, the 'Bite', 'Conjuring 2', 'The Purge:Election Year', 'Lights Out', and 'Don't Breathe' will gross over $500 million - not too shabby for films with a total production budget of $42 million.

Horror pays, and it pays big at the box office for both distributors and exhibitors. Never underestimate the entertainment value of the horror film.  Many moviegoers love to be frightened, shocked, scared, and awed. They like to fantasize and are mesmerized by other-worldly beings.
Horror has even gone comedic, a-la films like 'Scary Movie', a slasher spoof, that tears out the heart of the 'serious' horror film.

Go see a good horror film you'll be surprised how entertaining it will be. The horror film is the stepchild for the movie industry but nonetheless draws in big crowds and has become the second highest grossing movie genre.


  

Highest Paid Actor

Someone you never think of as being the highest paid actor given his low-keyed demeanor and non-limelight life style, but Dwayne 'The Rock' Johnson is that person.

The 'Rock', with now famous brow-raiser.

Dubbed the 'hardest working man in Hollywood' by his peers, Johnson made over $70 million last year.  Audiences love Johnson because he is a 'normal guy'.  If you are a studio exec and want your movie to make mega-bucks hire Johnson.

Starting his career in the Worldwide Wrestling Federation, wrestling promoters didn't know if they should cast 'The Rock' as a good guy or bad guy, so they told him to just be himself. So, he branded himself a potty-mouthed, brow-raising, people's champ.  Then, when the WWF started dallying around with musical acts, their then, biggest star was there to perform and would-up making a hit song called, 'It Doesn't Matter'.

Slowly, Johnson has turned into an actor that blockbusters are made for.  An actor that's not striving for critical acclaim in serious message movies but who just wants to have fun making movies and he's obviously become quite good at it.

With non-stop energy and a goal-driven personality, this year he will complete another series of episodes of the HBO hit-show, 'Ballers', star in the reboots of 'Jumanji' and 'Baywatch', and is now shooting for 'Fast & Furious 8'.

Johnson commands $20+ million per film and has worked himself into a position where he can also get a piece of the film's gross take.  Johnson's salary puts him into the elite, not of Hollywood, but of sports - where he started out as a football player in the Canadian Football League.

Dwayne Johnson is half Black Nova Scotian, and half Somoan and comes from a long-line of professional wrestlers. He was born and raised in Hayward, CA where he still lives.

Studio Only Makes Films Based on Video Games

Marla Studios, launched by ex. Ubisoft CEO Jean-Julien Baronnet, will specialize in adapting video games into movies.

Baronnet helmed Ubisoft for 5 years

There have been very mixed results when it comes to turning games into movies, according to Baronnet, "Studios have had difficulty recognizing the need for the stories in video game adaption to have a universality to them. Most of the time they try to copy the video game's story and/or characters, which is exactly what should not be done."

Baronnet contends, one, that a video game, on average, makes more money than a movie, and two, that the superhero based movie era is coming to an end. "People are starting to tire of the comic superhero, but still have a huge appetite for big franchise films", says Baronnet. And that is where the video game characters come to the fore. Having overseen the development of the very popular 'Assassin's Creed' video game franchise, as well as, production of the upcoming movie of the same name, Baronnet knows lots about game and movie production.

Marla will also assist gaming companies in negotiating movie contracts that will provide them strong creative control - which is missing in the current game-to-movie environment - fostering, in Baronnet's view, poor end results. Marla will staff itself with individuals from both the movie and gaming industries but sees its clients as the gaming companies and not the major studio/distributors.

CMG wishes Jean-Julien all the best and believe he is on the right track regarding both the growing moviegoer malaise with superhero films and the need for the gaming companies to have much greater control over the creative process in adapting games-to-movies.

Jim Lavorato

Jail-time for Netflix Password Sharing

Sharing your Netflix password is now illegal. A ruling by the Ninth Circuit Court of Appeals, last week, made sharing your Netflix password a crime under the Computer Fraud and Abuse Act.

Although the thought of harmlessly sharing your password with family members and friends to save a few bucks seems petty use of our judicial system, the ruling has wide implications.  Anyone divulging their login info for any subscription service, Netflix of otherwise, is now illegal.

Although aimed at more serious cyper-crimes that threaten the security and privacy of corporations' and other organizations' data and internal information, the ruling turns the average Joe into a federal criminal. So, you can no longer play the good-guy, password-sharer role at the expense of the service providers and not be considered a criminal worthy of the toughest penalties under the law.

In reality, people share their passwords, especially in a household.  Even Netflix says, "a household can share an account and users can watch Netflix on up to six different devices."  Neither Netflix, HBO-Go, Spotify or any other media streamer is going to criminally charge a subscriber - but the law allows them to if they wish.

Disney Goes 'Emoji'

Just launched, by Disney Studios, are your favorite Disney and Pixar characters' emojis - almost 400 of them.  This emoji barrage comes in conjunction with a new mobile game called, "Disney Emoji Blitz", where you have to match emojis up (a-la 'Candy Crush') before you can store them to use, yourself, later.

The game, announced by Disney this past Thursday (July 7th) is available in both IOS and Android versions.

These promotions, by the studios, help movie exhibitors as they keep relevant and current the best-loved characters and set the stage for new characters in new films - win/win.

What's Up At The Movies by Seymour Flix

AT&T's Buy-One-Get-One Movie Admission

AT&T, the telecom giant, in collaboration with AMC Theaters and Regal Cinemas (the U.S. number one and two largest cinema circuits) is offering its customers a buy-one-get-one free deal on Tuesday movie presentations at over 13,000 screens.

Limited to Tuesday screenings and valid only for 2D films, the free admission tickets are available only to AT&T wireless customers.  Tuesdays are typically one of the slowest days for cinema traffic so AMC and Regal see this as an opportunity to gain attendance from consumers who never frequent a cinema and which won't impinge upon their weekend attendance.

The AT&T offer comes on the heels of T-Mobile's rewards program that offered a free Domino's pizza, Wendy's frosty, and free movie rental from Vudu - however, Domino's backed out of the T-Mobile promo after the first week because of overwhelming demand. In response, AT&T is capping the number of free tickets given out each week.  A ticket voucher is emailed to the AT&T customers chosen and validated at the cinema's box office when one, full-priced admission is purchased.

AT&T's 'Ticket Twosday' promo (as it is termed) is accompanied by pre-feature advertisements, as well as, concession tie-ins and is part of AT&T's overall customer-loyalty program. The 'Ticket Twosday' promo is scheduled to be expanded in the fall to include free tickets to Live Nation concerts.

 Failed 'MoviePass' Is Trying to Revive Itself

Launched in 2011, MoviePass promised to revolutionize the cinema-going experience - but after 5 years the company (which offers unlimited access to cinemas) is little known and floundering.

Exhibitors, generally, view MoviePass as a threat vs. and ally, but the company just hired a new CEO (Mitch Lowe, co-founder of Netflix) who is determined to convince exhibitors that MoviePass can bolster their admission and concession sales.

Cinemas have done a great job, over the past several years, of upgrading the movie-going experience - digital projection, new seating, improved sound have all added-up and cinema admissions have remained static against  a constant barrage of alternative entertainment options.  The problem with MoviePass is that although it's a good concept, it conflicts with a cinema's own in-house loyalty programs.

MoviePass, which now costs between $30-40/month for one subscriber to view an unlimited number of movies, is moving to a tiered pricing system which will start as low as $20/month for access to a smaller collection of movies and extending to $100/month for unlimited viewing of 2D, 3D, and IMAX films.  Last week, MoviePass sent out information on the new pricing to select subscribers which included a $50 package for six 2D or 3D films and a $99 package for unlimited movies in any format.  MoviePass customers use a phone app and credit card to buy tickets.

For the avid movie fan, who visits a cinema at least once or more per week, MoviePass is a great service, but even for the frequent moviegoers who visits a cinema once or twice a month it really is not cost effective - and that is why CMG believes MoviePass will remain a niche service in the cinema industry.

Best,
Seymour

Cinema Buzz

Another new on-line movie streaming service for home entertainment launched last week in the U.S. - FLIX Premiere.  This is the third home-oriented movie service in as many months.

Started in the U.K. in April, FLIX Premiere specializes in presenting independent movies gathered mainly from film festivals - those films that were not picked up by a major studio for theatrical distribution or by one of the bigger streamers like Netflix or Amazon.

FLIX Premiere charges $4.99 per film viewing. The scheme is to give indie films an opportunity to find an audience given their rejection from any cinema distribution.  Eight or nine films will be available each week - which indicates the huge volume of films (indie or otherwise) that don't make the distribution cut.  To be sure there is a lot of decent film product that never gets a screening either on the big or small screen, but are these the films that people are willing to pay for.

FLIX Premiere's management expects to have 2 million subscribers by year's end and be in seven countries withing the next year.  The strategy is to offer consumers alternative programming with first-to-be-seen indie movies.  CMG wishes FLIX Premiere the best but, like its failed predecessors, its road to success is very long and very steep.  The cinema stands alone as the venue to view the best in film entertainment. Home-based entertainment streamers, especially those that intend to charge a per view fee for second-tier content are doomed to fail.

Terrible Movies Do Exist (Gross Wise)

By all accounts, terrible isn't a strong enough word for the movie 'Misconduct' - from a box office perspective.  Last week it opened in the U.K. to a total gross box office of $141 over the three day weekend. Yes, that's $141!

What the hell happened?  With marquee headliners Al Pacino and Anthony Hopkins starring, gross admissions added to only one person per day per cinema over the three day release.

With a production cost of $11 million (marketing costs have not been disclosed) Lionsgate was non-to-happy with the film's gross, which opened  in the U.S. last February and took-in only $24,000 over it entire run. The story-line is about a lawyer who takes on a big pharmaceutical firm. Certainly not a new plot but nonetheless should provide for a good drama=thriller, but moviegoers would have none of it.

When a movie, like 'Misconduct', which isn't a bad movie but one which does not generate any box office chatter, the choices for the studio are limited.  More marketing, which costs more money, which may never be recouped or cut-and-run and try to redeem whatever you can on VOD or royalty from one of the major streamers.

Bad things happen even with the best talent and there will certainly be many more 'Misconducts'

Hollywood's Two-Faced Approach to Violence

Hollywood - Two-faced on Violence

In a recent article for Variety, Michael Showalter explored the role Hollywood plays in our "culture of violence" and if the entertainment industry should be more mindful of what appears in movies, TV shows, and video games.  Showalter suggests that stricter gun control laws and a dialing-down of the violence seen in many movies is warranted. Showalter, is wrong on both issues.

 Yes, I agree that Hollywood is very two-faced regarding violence.  Chock-full of politically correct folks that yet spew-out a non-stop stream of content that puts violence and social chaos center stage.

Gun control needs attention. To be sure, it sickens everyone, but the most jaded and irrational, to see innocents shot dead or wounded in both random and caused-based acts of violence, but are more gun control laws the fix. Last year, according to FBI stats, 372 people died due to mass shootings. For sure that is 372 too many but in relation to other death causes it is not even on the chart. For example, 450 people died from getting in and out of their bathtubs- begging the question: should bathtubs be ban?  What is needed for gun control is the strict enforcement of the existing laws.

High Impact/violent movies have the biggest audiences

Mass shootings, like plane crashes, get a lot of press but are rare. Texting while driving, which caused 3,154 deaths in the U.S. in 2014, got very little attention. Also, I don't believe Hollywood should censor itself with less violent action or gory horror movies. There are plenty of  straight comedies, rom-cons, dramas, children's fare and animation content being screened. There is a market (perhaps the biggest) for high-impact action films and TV shows - and that market appetite should be met.


Yes, Hollywood is two-faced when it comes to violence. A big-name film director or A-list actor thinks nothing of lobbying for more gun control while at the same time directing or staring in a violent film. In this age of un-reason, one needs to have a high tolerance for ambiguity on many social issues - Hollywood is no exception.

Just saying,
Jim

What's UP At The Movies - by Seymour Flxi

Watch A Movie On Father's Day

A recent survey conducted by Fandango, Dads (of all ages) were asked which modern classic movies they would love to share viewing with their children.  To be considered a 'modern classic', the movie had to have been released between 1975 - 2010 and had to be an original film (not a sequel or reboot).  The movie also had to have a 'G', 'PG', or 'PG-13' rating.

Listed are the top 20 movies which the Dads would like best to view with their children this Father's Day"

Star Wars
E.T.
Jurassic Park
Forrest Gump
Toy Story
Shrek
Rocky
Avatar
Lion King
Raiders of the Lost Ark
Finding Nemo
Back to the Future
The Karate Kid
Home Alone
Ghostbusters
The Incredibles
The Goonies
Field of Dreams
Ferris Bueller's Day Off
Jaws

Movies need to be shared - that's the great thing about film as an art form.  Such is the case with parents and children, as they share the experience of watching a movie they may have seen together 20 years prior.  The list has some of the most iconic and popular films of all time and many have themes about children and parent relationships.  Additionally, many of these movies are still going-strong with sequels and several have become mega-franchises, ie Star Wars, Avatar, Finding Nemo, Toy Story, and Ghostbusters.

So, if you can, share one of these classics with Dad this Father's Day - age makes no difference. Better still, go to the cinema and watch a movie that may become 'your' classic that you will remember you shared with your Dad.

Ben-Hur Chariot Race - The Real Deal

No CGI effects here, the chariot race in the upcoming movie, 'Ben-Hur' was completely shot in real-time, with real horses and riders (in many scenes the film's actors and not stunt doubles).

Trucks, outfitted with cameras attached to sliding rails, sped around the specially constructed race arena along with the chariots, to ensure a real depiction of what would have occurred centuries before. No airbags or braking mechanisms were incorporated on the chariots.

The result: a very, very realistic chariot race that highlights the movie and is better than the original 1956 'Ben-Hur' that was also filmed in real-time (there wasn't too much CGI back then).

The new 'Ben-Hur' is scheduled for release this August. If nothing else, it will be worth a visit to your local cinema just to view the chariot race in large format and sound.

What Everyone Makes On a $200 Million Blockbuster

Ever watch a blockbuster film and wonder how much everyone got paid for their efforts? I have, and so has Vanity Fair, which took the time to breakdown what everyone gets working on a hypothetical $200 million mega-budget movie.

Like most businesses, the people at the top make most of the money, but the scale of difference in movie-making is, well, a bit much.  For example, a Lead Actor will earn $12 million, while a bit actor with one or two lines will get $1,900, and an uncredited extra $148.

Here's a sampling of what folks make:

- Director - $4 million  Asst. to Director - $118,000
- Exec. Producers - $1.1 million (normally, at least two)
- Producers - $1 million (normally, at least 3)
- Writers - $250,000 - $3.2 million (normally 2 or 3)
- Director of Photography - $900,000
- Production Designer - $780,000
- Editor - $925,000 (normally 2)
- Costume Designer - $315,000
- Music Composer - $900,000 (Original Score, extra $800,000)

- Lead Actor #1 - $12 million
- Lead #2 - $4.5 million
- Lead #3 - $1.5 million
- Lead #4 - $500,000

- Supporting Actor #1 - $400,000
- Supporting #2 - $75,000
- Supporting #3 - $19,000
- Academy Award Winner in Cameo role - $75,000
- Animal in Scene - $13,000

- Stunt Coordinator - $280,000
- Stunt Double for Lead Actor - $116,000
- Stunt Person - $17,000
- Stunt Person on Fire - extra $7,500
- Stunt Person Going Through Window - extra $3,700

- Camera Man - $125 - 175,000
- Film Loader - $58,000
- VFX Supervisor - $600,000
- Property Master - $296,000
- Casting Director - $233,000

For a full detail view the video below.

Teen Blames Movie For Murders

Between May 12-15th Jonathan Cruz committed several vicious crimes in the Indianapolis, Indiana area.  The 19 year-old confessed to going on a four-day "purge", which included rape and murder.  His comment was that he was influenced by the movie 'The Purge'. Cruz stated that he was constantly watching 'The Purge' and its sequel 'The Purge Anarchy' and referenced the films in text messages to friends and family.

This is certainly not the first time a movie or song (re: Helter Skelter in the Manson murders) have been used as an excuse for demented activities by unstable individuals.  However, I must say, that the world we live in is getting more violent as witnessed by the crowd-riots surrounding the U.S. Presidential campaign.

Although not in any way responsible, Hollywood should take pause and evaluate what type of product to produce given the current social mindset we currently find ourselves - for eventually the thoughts of critics and the citizenry may turn to just how 'responsible' is it to create this type of movie or TV show.

Universal, the distributor of the 'Purge' films, is set to release the third film in the series, on July 1st, 'The Purge: Election Year', and must be just a wee bit anxious.  This, particularly in light of what is occurring at every political gathering and the huge protests which are going to surround this summer's upcoming Party Presidential Conventions. Will Universal postpone the release of 'The Purge: Election Year' ?  This maybe a good idea in light of the Cruz case, but the July 1st release is still set.
For those unfamiliar with the premise of 'The Purge', it is that for one night each year the government would allow citizens to commit any crime without fear of prosecution.

Cruz is obviously a demented individual but the question remains: if a movie can put one crazed soul over the tipping point to commit random acts of the worst type of violence is there responsibility on the part of the film-makers?  Heretofore, that question resulted in a 'No' but the times they are a changing.

Diary of a Drive-In Theater: Installment #3

It's all about concession for any cinema, but for Drive-Ins (which in many cases are only opened for 5 months or less) concessions are the real-life blood of survival.

Typical drive-in concession building

Drive-In theaters normally screen a double-feature each evening and start the presentation at dusk, which in summer is about 9pm. Patrons normally arrive early to get the best parking spots and to settle in for their 5-7 hour stay.

Many drive-ins have play-grounds for children, miniature golf, and other pre-show activities and events, such as fireworks, to bring the crowd in early and give ample opportunity for concession purchases. Additionally, there is always an intermission between features, at least, 15 minutes.  This provides a great opportunity to sell concession and of course during the movie people will walk to the concession stand to purchase items and will not miss much, if any, of the presentation.  Drive-ins pipe-in the film's soundtrack into the concession stand and many have table/seating areas just outside the concession area so patrons can eat and enjoy their snacks outside their vehicles and not miss any of the presentation.

Concession stands are large w/checkout at end

Drive-in concession menus offer a much wider food selection than in-door cinemas.  Although in-door cinemas sell other food items besides popcorn, soda, and candy, drive-ins are food meccas. Hot dogs, hamburgers, pizza, sub-sandwiches, fried items including french fries, shrimp, onion rings, mushrooms, and chicken wings. Corn-dogs, barbecue pork and beef ribs, sausage are also big sellers.
Cotton candy, a variety of ice cream treats, and caramel corn are also very common concession items.

Lots of items to choose 

It is not unusual for the per-cap tally for concession to be $20 and more if the right combination of food items are sold and marketed.  Combo meals are very popular as are large family-style items like large pizza and wing combos.

If managed properly, drive-ins will not only bring in large numbers of admissions but huge concession sales and large profits.  Drive-ins attract a certain type of moviegoer: families looking for a relatively inexpensive night of entertainment, couples on dates, and older folks seeking nostalgia and remembrance of youthful good-times.

Drive-ins are an entertainment bargain.  Where else can you get 6 hours of entertainment for a $10 (or in many cases less) admission, with fireworks thrown in. And, unlike in-door cinemas where patrons are strictly forbidden to bring in food and drinks at drive-ins you can bring whatever you like -  and most moviegoer do, but they also buy a lot of concession.