#with the likes of blockbuster and drive in movie theaters

[destielmemenews]

Chicken Soup for the Soul files for bankruptcy

https://fortune.com/2024/06/29/redbox-dvd-kiosks-chicken-soup-for-the-soul-chapter-11-bankruptcy-filing/

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[fullcolorfright]

Reveal any secrets you may know about the history of gore in old horror movies?

I’m not an expert but I’ll give you what I’ve got!

(^from the Wikipedia article on splatter films)

Blood Feast (1963) is generally considered to be the first splatter film, due to both the graphic onscreen gore in its kill scenes and the high frequency which these occur through the movie (rather than just having one shocking scene, which would be more common). Blood Feast was inspired by the lack of onscreen gore in blockbuster horror at the time (specifically in Psycho).

Still, there was a variety of pre-Blood Feast horror that didn’t mind flouting the censors (especially in mad scientist films- in the pre-slasher era, surgical gore was more common). When Hammer studios received an X rating for a 1955 film of theirs, they changed the name to “The Quatermass Xperiment” to capitalize on the rating. Two years later, critics were outraged by the blood in Hammer's The Curse of Frankenstein (1957), with studio head James Carreras quoted as saying, “blood doesn’t look like anything unless it’s good and red.” Eyes Without a Face (1960) has an on-screen surgery scene that still shocks, despite concerns of censorship during production. And then there’s the 50s low-budget drive-in type films, which capitalized on mutilation and sometimes showed its effects (I’m thinking of I Was a Teenage Frankenstein (1957) specifically).

The Hays Code’s enforcement from the mid-30s to the 60s definitely put a damper on gore in American films- though its focus was more on nudity, “brutal killings should not be presented in detail” was one of its points.

In any case, most pre-code films tended to use a tell-not-show method for gore; Dr. X (1932), for instance, mentions cannibalism and serial killing as the driving forces of its plot, but artfully hides any victims from the camera. On-screen gore was possible (for example, in 1936’s short film The Facts in the Case of M. Valdemar) but uncommon.

If we go back far enough, the influence of the French Grand Guignol theater becomes apparent in the type of onscreen gore presented. It’s very pulpy and theatrical- featuring mad doctors, mysterious slayings, and executions- and often in the service of non-horror genre films (These shots are from Good Night, Nurse! (1918) (comedy), Les Vampires Episode 1: The Severed Head (1915) (crime), and The Execution of Mary, Queen of Scots (1895) (history)).

Basically- gore in film has always been around, it just took until the 60s to really become accepted!

[tinytalkingtina]

Free Show

2222 words | Rating E | Full fic on Ao3 Written for the @steddiesmuttyseptember event, Week 2 Prompts: "clothes on" and "back seat" Tags: Dom Steve/Sub Eddie, exhibitionism and semi-public sex, car sex, edging/orgasm control, some very mild CBT, spoilers for Die Hard (1988), pre negotiated scene, they get pretty messy

The Beemer rolled to a gentle stop. They had made good time, previews were only just starting. Eddie fidgeted excitedly in the passenger seat beside him.

“You know, the premise for this movie kind of reminds me of a puzzle from the first campaign I ran. Had an evil gang kidnap a bunch of nobles during their takeover of a wizard’s tower. Planned to have 10 floors of traps and monsters for the players to fight through before getting to the end, it was going to be brutal. Only problem was, I forgot Jeff had a saddle of flying. So whoosh,” Eddie punctuated his words with a flap of his hands. “All my plans, foiled by a horse with wings. But barring a wild departure from genre standards, I’m going to assume this cop will have to fight the baddies off without any magical items.”

Steve chuckled quietly. Personally he wasn’t really sold on how the guy from that comedy detective show would do in a serious action movie, but he did look forward to watching the explosions. And it didn’t hurt that in the trailer, it looked like Bruce Willis would spend most of the movie with his chest on full display.

Though, if the night went according to schedule, the two of them would have to rewatch Die Hard again at some point.

A few minutes in, the limo driver introduced himself as “Argyle”, and Eddie snorted. “Oh my G-d we’re gonna never hear the end of this from Jon are we.”

“No, I don’t think we are.” Steve laughed. He chose that moment to let his hand wander, resting it casually on Eddie’s crotch. Eddie’s breath hitched as he started to gently squeeze and massage.

“Not that I mind the attention Steve, but if you keep that up, I’m probably going to have a uh…situation,” he whispered, mindful of the open window. Steve leaned in close and pressed his hand in a little harder. 

“Nope, you’re just going to have to control yourself. Wouldn't want you to get so messy, not here. There's so many people around." 

In reality, there really weren’t. It was a Tuesday night in the middle of nowhere at a barely functioning drive-in theater (Steve was honestly shocked he’d found one playing a major summer blockbuster). Their car was the only one on this side of the lot, and he’d parked right by the tree-line, carefully out of the direct glow of the screen.

But Eddie didn’t notice all that. He didn’t need to. They had worked out all the details for this little game last week, so all he had to do was sit back and let Steve get him more and more worked up.

A small whimper left Eddie’s lips. "I can't help it when you're, oh, being so…mean about it!”

Steve smiled. “I know what you’re thinking, that I’m gonna make you come in your pants a bunch of times while we watch a movie, yeah? Maybe see if we can break your record?” The temptation was there. It would be so easy to just keep teasing until Eddie couldn’t hold back anymore, to take him to that place where he went all boneless and pliant. Tonight though, Steve had other plans.

Eddie nodded frantically, hitching his hips to rut against Steve’s palm harder. 

“Yes, yup, please, I don’t think we can beat five but—.” He moved his hand away from Eddie’s crotch, ignoring the small noise of confusion.

“Tonight, I thought maybe we’d try something new. Can you keep your hands up here for me?” Steve gently tugged on Eddie’s wrists, moving them until he was holding onto the headrest. “Not planning on tying you down. But you’re not gonna move from this position unless I tell you to, right?” Eddie nodded, his eyes glazing over. “Good boy, thank you.”

His boyfriend relaxed a little at the praise, but kept shifting restlessly. “Can you touch me again now? Please? If I’m going to get arrested for public indecency I want at least one orgasm out of it.” Steve huffed out a laugh.

“Stay still for me, and maybe I will.”  He slowly undid the zipper on Eddie’s jeans and wiggled down his briefs to leave him bare-assed on the passenger seat. As asked, Eddie obediently kept the squirming to a minimum, even if he gave another whimper at the exposure. His dick on the other hand, gave an interested twitch, already half hard.

Steve held out his hand. “Spit.” Even in the darkness, he could make out how red Eddie’s face was as he did so.

He reached down and gave a few solid pumps while rubbing his thumb over the tip, not letting up until Eddie was fully hard. “Here’s the rules for tonight. I’m gonna keep doing this right up until you’re about to blow it. But you’re not gonna come. Not until the credits roll. When you get close to the edge, I want you to be good and tell me, okay?” It took Eddie a few seconds but he did finally nod. Steve grinned at his wide-eyed stare. This was going to be fun.

Thirty minutes later, the German terrorist leader shot someone. Steve wasn’t entirely sure he was actually a terrorist, but the finer details of the plot were kind of a lost cause at this point. And Eddie definitely wasn’t in a state to concentrate on anything besides what was happening in the car.

Read the rest on Ao3!

Popcorn divider credit: Firefly Graphics

[sirfrogsworth]

Regarding my heading down an unfinished road... I found it on Google Street View.

So these are from a year ago.

This is the lane I drove down.

And this is the section where I realized, "Oh shit, I ain't supposed to drive here."

I used generative fill to update these images to what they looked like on the day of embarrassment.

Looking back, there were a few cones. But all of the "do not enter" signs were gone and I think it would be perfectly reasonable to assume you could drive here. I think other people may have avoided it because they drive in this area regularly. I drive maybe once or twice a month.

And here is what the dead end looked like with a year of construction progress.

(It is scary how close generative fill matched this to my memory of it.)

I was really confused when I got to this point. I wasn't sure if I should try backing up or turning. I thought the gravel was okay to drive on, so I pulled forward and started a u-turn. But there was a sharp drop-off from the road to the gravel section I couldn't see and that was very jarring. And the gravel was not fit for driving on. So I kicked up a ton of dust and passers-by were all "WTF are you doing?"

Hell, I was like "WTF are you doing?"

I have a feeling this memory will join a few other embarrassing moments that pop into my head right before I try to fall asleep.

It wasn't my fault, but yeah, I hate driving around here.

It feels like the highway construction in this area is endless. It's been going on for years and it never feels like any progress is being made.

They closed off 3 highway exits for streets that contain a lot of local businesses. One of them leads straight to Ferguson. And if you don't know to exit onto a side road ahead of these areas, you'll just pass them by. So people from out of town who might be looking for a place to eat or shop could easily drive past these areas.

I feel sad for my community. Big franchises are closing up shop. There is no pizza place that directly delivers to my area. When your last pizza place closes up, that's when you know your community is in trouble.

If anyone around here wants pizza delivered you have to spend a ton to have it DoorDash'd in from another area.

And it all started with a "white flight" epidemic. They even made a documentary about it called Spanish Lake (my township). There was a failed housing project nearby and a lot of poor Black folks started moving to Spanish Lake afterward. Then some scummy real estate people took advantage and it all snowballed from there...

"The 1990s saw a mass exodus of the white population, spurred on by blockbusting, a practice some U.S. real estate agents use to encourage white property owners to sell their houses quickly at a loss, implying the African-Americans moving into their neighborhood will depress their property values."

Apparently blockbusting is the new red lining.

The "controversy" section on Wikipedia sums up the movie pretty well.

I started following a Facebook page dedicated to Spanish Lake, thinking it would be other folks in my community. I thought maybe I could get to know my neighbors.

Instead, it is all of the white people who moved away reminiscing about how great Spanish Lake used to be.

People in this group are trying really hard not to say the quiet part out loud.

Riff raff?

Scot, I think you dropped this...

I grew up here. I still live here. I love my house and my street. There are some areas that could really use some help, but if you live here, you know the few small pockets to stay away from. I have no issue walking up and down my street at night without fear.

They also mourn the loss of the businesses that closed because they abandoned the area.

There is the mall which will be officially demolished soon.

And, yes, it is the spooky mall from that viral video.

There was the movie theater... at the mall.

There was the Aloha Roller Rink.

Which now looks like this.

And the burger joint.

The pizza place.

And the other pizza place.

Saullo's was okay.

Angelo's in the next town over is better. And still in business!

What was I talking about?

Oh, yeah. Don't drive down unfinished roads!

[tc-doherty]

This might be too personal but I just kind of want to talk about him so

My mom and Kevin got married when I was 3 or 4 or something, and they divorced when I was probably in 4th or 5th grade (really not sure about the timeline honestly). He was not my birth father nor did he legally adopt me, but, with very few exceptions, from the time that they got divorced until I went to college, he came by every Sunday and would pick me up and we'd spend the day together.

We really loved to go get ice cream together, so that is like peak parent-child bonding activity to me! There were a couple of parks that we used to go to frequently and walk around the woods. One time we fell off a cliff together, that was fun. Sometimes we'd go to the museums or walk along the canal or walk along the Monon, and we also watched a lot of movies together. It was almost a weekly ritual to go to Blockbuster and pick out some random thing to watch together. He played in the pit orchestra for the community theater would arrange for me to be able to come to shows that he was performing in sometimes.

He would take me to hang out with the members of his band or the people that he played in the pit orchestra with, so I was invited to lots of rehearsal nights and parties and get-togethers for that.

I saw him a few times after I went to college but I was much further away so it just wasn't as convenient. I did not see him in any of the months leading up to his death. He called me to tell me he was dying, and we talked for a long time. I offered to drive to Ohio to visit him but he said he didn't want me to. He didn't want me to see him like that, so I respected his wishes. By the time he died I don't think I actually seen him in close to a decade.

I only found out later that apparently the entire time he had actually been struggling with alcohol and drugs. But I never saw any sign of that. Whatever he may have done during the week, he made sure that he was sober on Sundays so he could come spend the day with me. And that means a lot to me! Regardless of anything else going on with my family, I always knew that Kevin loved me.

He would always listen to me ramble about my stories and whatever. He bought most of my art supplies and a lot of books for me to feed my hobbies. He supported everything that I wanted to do. And I would tell him anything, everything. It's no surprise that he was the first person in my family that I came out to. He was, of course, very supportive.

I'm not a very emotional person overall. My mom, for years, kept her grandmother's address in her Christmas card list and cried about it every single time after her death. I'm not that kind of person. For me, it's not at all difficult to focus on good memories instead of a sense of loss. But I'm really glad that I have the CDs that Kevin played music for. Whenever I want to, I can connect with him again that way.

[kosher-martian]

Napoleon & Josephine

Spoiler warning for Napoleon.

So this weekend I had an opportunity to see Ridley Scott's Napoleon. It was weird.

The movie has some problems. I'm not going to mention the historical accuracy of the film (it takes the same liberties all other historical dramas do) nor am I going to talk about the dialogue / delivery (though I will gladly let "You think you're so great because you have boats!" live rent-free in my head for the rest of forever). I think the movie had too much material it wanted to cover in one film, but tried to cover it anyway (the exact opposite of the YA movie "Divided for Adaptation" trope that swept Hollywood ages ago). Before some (likely extensive) edits the final film was probably close to 3.5 hours long, so they cut an hour's worth of scenes from the final product resulting in the choppy mess with massive pacing issues that have divided audiences and critics alike.

Scenes play at breakneck pace one after the other, each in a different location, with different characters, and occurring at different points in history, but there was either no attempt at linking the scenes together or the majority of those bridging scenes hit the cutting room floor. As a consequence, the movie just comes across as a feature-length recap of the previous season of some prestige historical drama show. If this were a pre-existing show the scenes make sense. You vaguely remember last season and you are only watching to jog your memory before jumping into the next season. But if you are going into this without familiarity of the subject matter (or only mild interest) and expect the film to tell you a narrative about the life of Napoleon Bonaparte, it's just a cluster of confusion. I had a similar experience with the Saoirse Ronan / Margot Robbie Mary Queen of Scots film. It had almost the exact same "not a film, just a series of scenes" issues. Unlike with Napoleon, I was less familiar with the historical events surrounding Mary I of Scotland and Elizabeth I of England. I ended up disliking the film and only ever watched it the one time.

So now I want to pivot to the reason I'm making this post at all. I want to posit a ludicrous and patently untrue conspiracy theory: They made two movies and then spliced them together!

To be clear, I don't actually believe this happened, this "conspiracy theory" will be more my wishful thinking than anything else.

Contrary to all evidence, I want to believe that Hollywood had planned Barbenheimer from the very beginning. Warner Bros, Universal Pictures, and other major studios saw the collapse of "cinematic universe" films on the horizon and wanted to create a new fad that would be both cheaper to produce and more easily controlled: Pick two films with markedly different audiences, market them as being in competition with each other, and use polarizing social media pushes to drive people into two constituency groups. With this model, studios could take two films that would otherwise have middling performance and turn them into blockbuster hits of then summer with marketing alone. People would go running back into the theaters to ensure their constituency's film "won" the battle. Hollywood solicited ideas for film pairings from a variety of sources. Ridley Scott got wind of this secret operation and decided he would condense the idea into an even easier exercise: Make the same movie twice for two different audiences.

Scott would direct two films with the exact same cast. One film (the "boy" film) would be an epic film covering the military triumphs of Napoleon Bonaparte, his tragic fall from power, his unlikely return, and his final defeat. This film, titled Napoleon, would feature fantastic set-piece battle scenes, tons of meme-able lines ("You think you're so great because you have boats!"), and gorgeous special effects. The "girl" film, Josephine, would depict the contentious and all-too-captivating private life of Napoleon and Josephine. It would be a more cerebral and emotional work, showing the complexities of their relationship. It would place the competing demands of Napoleon's ambition and longing for true love at center stage. Josephine might have made Empress Josephine our focal character or it may have continued to use Napoleon as entry way into the rich interior lives of the Emperor and Empress of France, but in either case the film's overall story would have been those moments when they were alone with one another or totally alone. Napoleon's story is the story that shaped the modern world, so it was more than enough to support both films. Audiences could choose which movie to support or might have found the format of "two films, one story" just too enticing to pass up seeing both.

But then something - and I'm not sure exactly what - happened. Instead of creating both films and releasing them separately, the decision was made to condense the two films down to one. Both films had nearly finished production. Two interpretations of Napoleon, one the legend and one the man, now needed to be brought together. Left with tonally dissonant films, the choice was made to just try to make the editing "choppier" and more "modern" (code for "we know flashy cuts and transitions won't save this colossal mistake, but we've got sunk cost fallacy now"). Scenes were lifted wholesale from both films and spliced together seemingly without regard for the final product. It's possible the final dirty work was handed to a trailer house, as evidenced by the trailers release earlier this year that paired action sequences from the film with modern music that not only didn't fit the film's aesthetics, but also didn't fit the scenes used.

Did this happen? No. As stated previously, Napoleon's story is too big to be contained in one film. The only film to pull it off was the 1927 silent film, which runs anywhere from 4 to 9.5 hours long depending on the cut. That's why other films focus on extensive portrayals of discrete battles (Waterloo), specific parts of his life (Eagle in a Cage) or his romantic life (Desiree, though it does show other aspects of Napoleon's life). Some artists have tried to do a broad retelling of his life, but those are always multi-part miniseries.

But go watch the movie yourself and tell me there's not a Josephine movie lurking on a hard drive somewhere in Hollywood. I know it doesn't exist, but also there's no way it doesn't exist, right? Too many scenes fit perfectly into another movie for it not to exist. Napoleon is not a cohesive film, it's a compilation of scenes from two separate movies featuring the same actors.

[808sheartbreaks]

I love the movies and going to the theater not in a film bro way but in a “cinemas are a sacred place of community and a portal that allows a space for big artistic expression to live and be appreciated as it was meant to be” so it makes me sad when original films flop and that people don’t get up to go to the theaters anymore in 30 years it’s likely the movie theater goes out sad the way blockbuster did or the way drive in theaters did and we’ll wish for that space back like how we already now wish we still had those spaces existing idk it just makes me sad

[omamervt]

I know there's all the Normal Factors regarding more movies being seen as theater flops these days - less people who can safely go to theaters due to the effects of an ongoing deadly pandemic, theaters jacking up ticket prices, anything that isn't an existing IP being treated as more and more of a risk and getting less marketing, even if it's the kind of film that typically does well - but I think The Fall Guy really demonstrates that standards surrounding theatrical releases have gotten absolutely insane. It's only been in theaters for 2 weeks and the studios are ready to cut their losses after a worse-than-expected opening weekend and are releasing the film to streaming services early.

Like, I know theaters start to pull films when they stop meeting a certain revenue threshold, I get that, I really do. But like. It came short of projections for opening weekend, but theaters haven't even started pulling it yet, it's still showing at every theater within an hour's drive of me, and that's at least 10 theaters. That means it's still making them money, which means people ARE seeing it, they just weren't prioritizing it because it wasn't The Next Big Blockbuster or whatever.

Like, are we seriously at a point where a film is declared a flop if it doesn't make back its budget and then some on just opening weekend? We can't wait until the end of the theatrical run? 4 weeks is too long these days? Like, is that seriously where we're at? We can't have faith that a movie based on a novel that sold well enough for its movie rights to be worth anything, an action comedy starring Ryan Gosling and Emily Blunt, with a classic "actor is suddenly expected to do their character role in real life to save the day" setup? We can't just wait and see if it makes its money back even at the global box office? Is that seriously where we're at?

[rz-jocelyn]

[NEWS] Double Drive: The Blu-ray/DVD for "Outro Double" has been Announced

RELEASE INFORMATION

Release Date: September 02, 2023

DESCRIPTION

A continuation of the movie series that started with "Borderline" and the "Double Drive" movies, "Outro Drive" is the latest and final installment in the series. The movie follows Agatsuma Abel (Fujita Ray) and Igarashi Junya (Sato Ryuji) following their adventures in the previous movies as they live their lives as partners. To watch the trailer, please refer to this link here: HERE

The boxset also includes the full episodes of "Fujita Ray x Sato Ryuji Futari Tabi" where Fujita Ray and Sato Ryuji go on a trip together, and we get a glimpse of what their friendship is like behind the cameras.

To watch the previews, please refer to the links below.

Spot 01: HERE

Spot 02: HERE

Spot 03: HERE

NOTE: In addition to the "Double Drive" series, Ryuji and Ray are close friends in real life who have worked together on productions, like the "Live Spectacle NARUTO", "Rock Opera 'R&J' and "'Jujutsu Kaisen' The Stage".

Ryuji was actually cast in the "Double Drive" series because Ray wanted him to be in the series.

CAST

Fujita Ray as Agatsuma Abel

Sato Ryuji as Igarashi Junya

Makishima Hikaru as Tsukamoto Kohei

Nakamura Tarou as Ikehata Shunsuke

Takahashi Ryoya as Kubota Norio

Nadagi Takeshi as Kubota Gorou

Chihara Seiji as Anaguma Daruma

BLU-RAY/DVD BOXSET CONTENT

Main movie (1 disc)

Extras and bonus features (4 discs)

EXTRAS AND BONUS FEATURES

Disc 01:

Fujita Ray x Sato Ryuji Futari Tabi (Episodes 01 to 03)

Making footage

Special news video

Promotional videos

Promotional spots

Disc 02:

20/8 Fujita Ray x Sato Ryuji Futari Tabi Talk Show (Session 01)

20/8 Fujita Ray x Sato Ryuji Futari Tabi Talk Show (Session 02)

NOTE: Sato Ryuji is featured here.

Disc 03:

18/7 Storm of Announcements Online Event! Complete Version (including the after-talk)

1/11 Spoiler Live Online Talk Show! Complete Version (including the after-talk)

NOTE: Sato Ryuji is featured here.

Disc 04:

3/9 Theater Release Commemorative Stage Greeting (Sessions 01 and 02)

10/9 Blockbuster Appreciation Stage Greeting (Sessions 01 and 02)

BONUS GOODS INCLUDED WITH THE BOXSET FEATURING IGARASHI JUNYA (SATO RYUJI)

Perfect Box

Igarashi Junya solo L-Size bromides (set of 4)

Igarashi Junya solo acrylic stands (set of 4)

Igarashi Junya can badge (set of 4)

Agatsuma Abel x Igarashi Junya L-size bromides (set of 5)

Regular Box

Agatsuma Abel x Igarashi Junya L-size bromides (set of 5)

SALES LINKS AND INFORMATION

Pre-Order Period: Now to July 25, 2023

To pre-order the Blu-ray/DVD, please refer to the links below.

Perfect Box: HERE

Regular Box: HERE

NOTE: The Blu-ray and DVD for the "Perfect Box" and "Regular Box" can be selected using a dropdown menu as indicated in the images below.

Ryuji and Ray also sang "BOND", the theme song for the movie. To purchase the single, please refer to this link: HERE

NOTE: For more information about the proxy services available in Japan, please refer to this link: HERE

Source: ( x )

[npdclaraoswald]

So the A/C broke in one of our auditoriums, which is something that happens like once a month bc this place is falling apart. So we canceled the showings in that auditorium, which happened to be Sound of Freedom- a movie about how cops definitely help trafficking victims, they definitely don't do all of the horrible abuses that they constantly do. But apparently there's a fucking conspiracy theory around this movie and a woman came in to yell about how we're trying to silence the movie by placing it in a small auditorium with fewer showtimes and now we're making up reasons to cancel it just like how the movie was originally produced by Fox but when Disney bought them, they never wanted to show it and tried to sue to keep it from getting out!

This movie is made by a small, ultra religious studio that as far as I can tell, has no association with Disney or Fox. Even if Disney did have the rights to the movie, how would it be showing if they didn't want it to be? Either Disney sold it, which means they don't give a shit what happens to it, or their intellectual property was stolen, in which case no fucking studio would claim it because no one wants to be sued by the giant megacorporation with unbelievable legal power that is Disney. Angel Studios could not fucking withstand that, which means Disney didn't actually sue, because why the fuck would they? This movie was made by Angel Studios, not Fox or Disney, Disney doesn't give a shit about it.

And the theater level, the movies Angel Studios make usually sell pretty well, but not well enough to be in the big auditoriums, even during the slow season. They definitely don't sell well enough to automatically be put in the big auditoriums when we've had a blockbuster come out every single week for the past month. Despite how their movies usually do though, this one is actually selling very well, so it will be moved to a bigger auditorium starting Friday. Because movie theaters make our schedules week to week and we can't switch what auditorium something is in in the middle of the week because that would require us to refund any presold tickets for both movies we'd be moving if we switched them. And this movie has been out for less than a week, so we have had no opportunity to move it since seeing how well it's doing. And you can see it's in a bigger studio now on our schedule on our website.

Not a single piece of this conspiracy makes sense when you question it for two seconds. And it was probably made up in the first place by Angel Studios or their fans to drive up engagement for this movie

[magxit]

I know people want to yell that Taylor is just "greedy" or that this is just another "cash grab," but in reality, this is just how this usually works. A blockbuster movie (still available in some theaters) is not going to go straight to streaming without a cost. Are you people serious? In addition to it being the norm and not just a Taylor move, the streaming services want their cut just like AMC. BY bypassing the middle man with this film, ALOT more $$$ come in to play for everyone involved.

Oh this is what that anon meant. I had no idea what that anon was talking about. The funny thing is the fans are sharing a google drive. I know I won't be paying 20 dollars to watch it on streaming. Go pirate that movie!

[khushiambient]

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What Is Film Marketing?

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Identifying potential partners enthusiastic about collaborating on film promotion

Whether it’s a big-budget blockbuster or an independent film, establishing partnerships with various brands and celebrities is essential for an effective movie marketing strategy. To promote blockbuster movies, official collaborations or unofficial product endorsements play a vital role. When a producer has the support of a strong celebrity presence, they can leverage the celebrity’s vast social media following to boost the film’s promotion. For instance, consider Salman Khan, who commands a staggering reach of approximately 70.2 million people on Facebook alone. Associating with such influential celebrities on social media significantly broadens the film’s audience base, creating a substantial platform for movie promotion. These partnerships enable the film to rapidly connect with a massive audience in a relatively short period, amplifying its reach. Join hands with Khushi Ambient Media Solutions today and unlock the potential of your brand’s advertising success. Let’s create memorable marketing campaigns together. Contact us now and let’s make your brand shine.

Some notable brands that have proven to be effective partners in this endeavor include Nokia, known for its innovation and global reach, which can help create captivating mobile campaigns to engage audiences. 93.5 Red FM, a popular radio station, provides a platform for extensive on-air promotions, enhancing the film’s visibility through its wide listenership. Lux Soaps, with its association with glamorous stars, can add a touch of allure to movie promotions. Make My Trip offers opportunities for travel-related tie-ins, tapping into the wanderlust of potential viewers. Lastly, Close Up Toothpaste can provide a fresh and vibrant angle to promotional activities, leaving a lasting impression on the audience. Partnering with these esteemed brands can bring diverse and impactful marketing strategies to the table, contributing to the movie’s overall success.

Harnessing the power of online platforms to engage and captivate a wider audience

Marketing agencies serve as the swift and expert solution for building a fresh fan base within the film industry. Through paid marketing, a film can swiftly gain recognition among a vast audience in a short span. Leading marketing agencies effectively present the film in the market, employing advertising strategies across television, online platforms, radio, and more. These agencies represent a contemporary avenue for promoting movies, leveraging their capacity to connect with diverse audiences across multiple platforms. Elevate your brand’s success with Khushi Ambient Media Solutions which can be your Partner for Film Marketing and Advertising in India.

Establish Your Distribution Channel

Don’t overlook the potential of offline channels when promoting a film. Building offline distribution networks is a fantastic strategy to captivate fans. This approach involves the dissemination of tangible materials like stationery documents and personalized printed items to engage audiences effectively.

Organizing engaging quizzes and contests to captivate and entertain the audience

Engaging in contests and competitions online stands out as a highly effective method for boosting audience participation. These activities strike a perfect balance between offering low risk and promising high rewards. Contests consistently ignite excitement and generate buzz on social networking sites, providing a significant advantage when it comes to promoting a film. For example, ahead of the release of the movie ‘Mary Kom,’ the producers orchestrated a pre-launch contest on Twitter to promote the film. In this captivating contest, the fortunate winner had the incredible opportunity to meet Priyanka Chopra and enjoy a screening of the movie alongside her. This approach represents one of the most ingenious advertising strategies employed for blockbuster films.

Engaging actively during press conferences

Press conferences represent one of the most influential tools for generating publicity. They play a crucial role in shaping the audience’s perception of a film. During these events, the press conducts interviews with key actors and directors involved in the movie. The primary challenge lies in skillfully and effectively engaging with the press. In addition to journalists and media outlets, social media influencers and fans are also invited to attend these gatherings. Another effective marketing strategy involves organizing mini-press junkets in major cities to promote the film. This approach allows fans to interact directly with the film’s star cast, creating a more engaging and personal experience.

Showcasing Of Trailers

Movie trailers are essential in sparking excitement among the general public for an upcoming film. They are distributed through various channels, such as television, YouTube, and social media platforms. Additionally, you can catch them on the big screen during intermissions or before the main feature begins when you visit the theaters. For avid movie enthusiasts, these trailers are not only entertaining but also intriguing. They serve their purpose effectively by generating anticipation. Many people still prefer to catch a movie on its opening day, and these trailers play a vital role in spreading the word and igniting excitement throughout the masses. Elevate your brand with Khushi Ambient Media Solution today and captivate your audience like never before.

At Khushi Advertising, we specialize in creating impactful marketing partnerships with the film industry to help you achieve your desired results. Through our collaborations with leading production houses and blockbuster movies, we provide a unique opportunity to introduce your product or service to a national and global audience. Our approach is rooted in the idea of how brands can shape consumer behavior, influence their choices, and seamlessly integrate into the narrative of a story. Our primary strategy and ultimate goal revolve around presenting and promoting your brand to the audience in a way that enhances visibility, recall, and resonance.

This blog originally posted here: https://khushiadvertising.com/how-is-a-film-advertised-things-you-should-know-about-advertising-a-film/

[denimbex1986]

'Both Barbie and Oppenheimer benefit from the Barbenheimer phenomenon driving audiences to theaters. However, the primary beneficiary is likely Christopher Nolan's three-hour historical epic, attracting viewers who might not have otherwise seen it in theaters. Yet, on social media, some movie fans are lamenting the increased attendance. It seems Oppenheimer started a real-life war between people who use their phones in movie theaters and those who don't.

As Barbie continues its journey to the billion-dollar box office milestone, Oppenheimer closes in on half of that gross worldwide. How diametrically opposed the films are only adds to the fun of Barbenheimer. One is a bright, all-ages story about growing up, while the other is a melancholy examination of monumental discovery and the toll it exacts on the world. This organic, earned media campaign may have saved the summer box office after a series of underwhelming releases. Of course, there's also the literal cost of inflation, too. Four tickets to two movies can cost anywhere from $45 to $60 or the amount of three to six streaming services. With the shortened theatrical windows in recent years, audiences want to watch movies at home. This could explain why inconsiderate audience members have taken to using their phones during movies like Oppenheimer, especially if they find the movie "boring."

Cinemas Require People to Respect the Film and Each Other

The ubiquity and power of modern smartphones has fundamentally changed how society works. In the 1980s and 1990s, parents going out would leave the phone numbers of restaurants, movie theaters and so on with babysitters in case of an emergency. So, if someone's phone goes off or lights up during a movie screening, there may be a good reason for it. However, small considerations like silencing ringers and decreasing brightness can mitigate the annoyance. Also, if there is an emergency, a polite moviegoer would take that call while quickly exiting the theater. Yet, apparently, during screenings of Oppenheimer, people have gotten bored and started using their phones to scroll social media or even watch videos.

Disturbances in movie theaters aren't a new problem, including phone usage. Movie theaters remind audiences to turn off their phones, usually in between the ad for snacks and the "You wouldn't download a car" PSA. There are many components to the unique magic of cinema, and the theater experience is one of them. Even more than talking, heckling or other ways people choose to be bad audience members, scrolling through one's phone feels worse.

Boredom Is a Poor Excuse for Using a Phone in a Movie Theater

Compared to most summer blockbusters, Oppenheimer is a "slow" film. Perhaps Martin Scorsese was on to something when he described them as "theme park rides." His critique, aimed at the films themselves, may better apply to audiences' expectations and preferences. It's perfectly valid to think Christopher Nolan erred on the side of self-indulgence when it comes to Oppenheimer's pacing. Still, there is enough intentional imagery on the screen that no reasonable person could claim to be bored. The options are to walk out of the movie or endure the showing with the rest of the audience. If one is lucky, the audience's reactions to the film can help assuage the "boredom" by providing a pathway to emotional investment in the story.

Films in the Marvel Studios' heyday, like Captain America: Civil War or Avengers: Endgame, can be like raucous sporting events. Audiences laugh together, cheer together, and sometimes cry together. Oppenheimer is not that kind of movie, but there's still a communal energy to the experience. Sometimes, it's what the director hopes for, but other times, it's a fog of confusion or the pangs of second-hand embarrassment. From shared jump scares during horror films to clever heckling of "bad" movies, the cinema always has something to offer. It's the kind of experience no app or game can yet duplicate.

Smartphones and streaming make it so people can watch whatever they want, whenever they want. In an uncomfortable parallel to Oppenheimer, these devices are scientific miracles that loom an unknown, potentially devastating cost. It's also a miracle that with TVs, iPads and VR headsets, movie theaters still exist. For more than a century, people have congregated in dark rooms to watch something together. That's the real magic. Good or bad, the movie is just a bonus.'

[dare-g]

how's Asteroid City? I want to see it with my dad, but the local theater never plays anything but blockbuster junk. Last Wes Anderson movie we saw, we had to drive two hours to find a theater playing Isle Of Dogs, and we had the whole theater to ourselves!

😰that is far... Love when I end up having the theater to myself though! and while i typically like to let things sit on my mind for a bit i guess I'd say it was alright. With Anderson id say the main things youre expecting are nice aesthetics, characters/dialogue that'll cause you to chuckle, and some feels mixed in ..all of which are there to a degree and i honestly had a fine time at the theater... but unfortunately I don't think it's one of his strongest films by far.. i wont get into that though cause this would probably get rambley ..if you get the chance to see it let me know your thoughts!!

[albertausprey]

To think that our communal interests that was shared amongst others while out on a Friday or Saturday night, is now governed and controlled by the algorithm of A.I. I remember conversing with other movie lovers at a place like Hollywood Video, Family Video and Blockbuster, to which we shared favorite genres, quotes and movie plots while out looking for a VHS or DVD to rent that evening. Whether it was a store employee or another customer there for the same reason as you, they were as thrilled as you to see the latest stories being told on screen. We all came to the same place knowing where we were at was like a safe haven in getting to know your community. I hope the future doesn’t drive us people further away from each other. And that movie theaters are not a part of the past also. Streaming movies is convenient, but letting the algorithm tell you what you might be interested in is not the same as having a conversation and connection with other human-beings. Upon reflection, 2020 and the two years afterward must of been hard on many people. I can’t imagine a world where people no longer care, no longer date, attend shows, protest, vote, create, marry, etc. because A.I. decided it wasn’t for your “best interest” to do so. I say all this ironically while using social media to communicate. But all in all, I hope we all can live without being told what we should or shouldn’t love. This is what makes us human.

[astoundingbeyondbelief]

Hey its so cool that you're local, you seem to know a lot abt the theaters, what are your favorites in the area? I really only go to the victor regal and have been wanting to find a really good one since moving back home

Asks that make every neutron in my brain start firing

My go-to multiplex is the Cinemark in Gates—it's got the only IMAX in the area, the reclining seats are comfortable, the pizzas are decent, and I like their membership program. With 17 screens, the movie selection is pretty great too.

AMC Webster 12 also has reclining seats, but it's expensive and the small number of seats per theater means that showings of the newest blockbusters sell out or leave only the seats closest to the screen very quickly.

Regal Henrietta has the most screens in Monroe County (18), but no reclining seats. They book a lot of Bollywood movies, same with Cinemark. Sidebar: I just found out the Regal in Greece is closing next month (but if you're frequenting the one in Victor, that would probably be a haul for you anyway).

Movies 10 in Brighton is not really worth going to since they stopped being an ultra-cheap second-run theater. The seats recline but the concessions are dismal.

There are three theaters left in the city. None of them sell tickets through Fandango; I recommend checking their sites instead, since they announce what they're showing well in advance. I end up at the Little (5 screens) almost as much as Cinemark. They mostly show contemporary indie/foreign films, but they've also gotten really into revival screenings lately. Their concessions stick to the basics—no trying to be a shitty fast-food joint—but do them well and don't overcharge. Their popcorn is legendary (helps that they use real butter). The Dryden Theater (everyone you talk to will mishear it as drive-in) is part of the George Eastman House, and draws upon their vast archives and connections to show basically whatever they want. If you're into seeing film on film, this is the place; they're one of only four theaters in the country that can show nitrate. (The Little also has a film projector, but they use it less frequently.) I'm embarrassed to say I haven't been to ROC Cinema since it reopened with a dine-in model. Their seats are office chairs now, which is utterly wild (and surely a big improvement over the stones they used to have).

Keep an eye out for the multiplex in Pittsford, which was supposed to reopen in the fall, also with a dine-in model.