Industry Lures Moviegoers with Special Deals and Screenings

As pandemic rules evolve and movie theaters reopen across the U.S., theater owners in North America with studios and other companies unveiled Cinema Week, a six-day event offering deals for food and drink and advance film screenings. Studios are on track to release major titles, having already unveiled “Godzilla vs. Kong” and “A Quiet Place Part II” to some success. Still, sales are lagging, with Comscore reporting that movies grossed $57 million in the U.S. and Canada last weekend, down 58 percent from the same period in 2019. Special screenings and an array of promotional deals aim to help turn things around. Continue reading Industry Lures Moviegoers with Special Deals and Screenings

AMC Chief Exec Adam Aron Still Optimistic in Perilous Times

When COVID-19 hit last year, AMC Entertainment had just taken on $4.8 billion in debt, a combination of a modernization effort that started in 2012 and acquiring competing movie chains to become the world’s largest movie theater company. Now, almost a year into the pandemic, AMC’s debt has risen to $5.5 billion — not including deferred rental payments. Pre-pandemic, AMC generated $5.5 billion a year in revenue. AMC Entertainment chief executive Adam Aron was the first to ink a deal for a limited exclusivity window. Continue reading AMC Chief Exec Adam Aron Still Optimistic in Perilous Times

Studios Adapting to Pandemic Limitations with Film Releases

WarnerMedia chief executive Jason Kilar revealed that his company plans to release blockbuster “Wonder Woman 1984” simultaneously in theaters and on its HBO Max streaming service on Christmas Day. He noted the changed environment, in which box office revenue alone doesn’t measure a film’s success but also by the number of new subscribers it generates for the studio’s streaming service. The distribution plan for the much-anticipated release is a sign of how much media companies have evolved to put more emphasis on streaming. Continue reading Studios Adapting to Pandemic Limitations with Film Releases

Universal, Cinemark Sign Deal for Shorter Exclusivity Window

Comcast’s Universal Pictures teamed with Cinemark Holdings, the third largest theater chain in the U.S., to permit online distribution of movies after three weekends (or 17 days) in theaters. The exception is movies that gross $50+ million domestically during their first weekend, lengthening the exclusivity window to five weekends or 31 days. Universal inked a similar deal with AMC Entertainment in July. Pre-pandemic, the exclusivity window was 2-1/2 months from a film’s premiere in theaters until it could be distributed to homes. Continue reading Universal, Cinemark Sign Deal for Shorter Exclusivity Window

AMC Is Running Out of Cash, Sells Some Shares and Assets

AMC Entertainment, the world’s largest movie theater chain, will run out of cash by the end of 2020 if current conditions do not change. Although it’s reopened 83 percent of its U.S. theaters, attendance is down 85 percent from a year ago. In September, AMC set a goal of raising $180 million but so far has raised only about $37.8 million by selling shares. Other fundraising options include taking on debt or selling assets. AMC sold its nine theaters in Europe’s Baltic region of Europe for about $77 million. Continue reading AMC Is Running Out of Cash, Sells Some Shares and Assets

Cineworld Temporarily Suspends Operation of Regal Cinemas

A day after the opening of James Bond film “No Time to Die” was pushed to April 2, 2021, Cineworld stated it was considering closing 536 Regal Cinema theaters across the United States and 127 Cineworld and Picturehouse Cinemas locations in the United Kingdom. Now, Cineworld has confirmed the temporary suspension of its U.S. and UK operations starting Thursday, October 8, blaming the lack of new films in the pipeline. Cineworld is the UK’s biggest cinema operator and the second largest chain in the U.S. The closure will impact about 45,000 employees. Continue reading Cineworld Temporarily Suspends Operation of Regal Cinemas

Facebook Ad Campaigns to Carry Movie Reminders, Times

Facebook is introducing two new features in the U.S. and U.K. that will allow entertainment studios to post movie reminders and showtimes as standard components for ad buys on the platform’s News Feed. There will be no additional cost to include the new information. Since interest in many films is generated early when trailers and ads first appear, Facebook believes movie fans would be greatly served with reminders when those films hit theaters. Users tap the “Interested” button on the movie’s Facebook ad to register for the reminder. The notification arrives when the film launches, and includes a link for showtimes and purchasing tickets. Continue reading Facebook Ad Campaigns to Carry Movie Reminders, Times

Brand Strategy for Mobile Apps Is Crucial, Tricky to Manage

Brands need an app strategy, say the experts. Shoppers, especially millennials, are increasingly purchasing goods through their smartphones. Forrester Analytics reports that smartphone purchases in 2018 will reach $118 billion, up from $13.4 billion in 2013. But to be successful with an app, the brand needs to ensure that its performance is superior, as users will quickly rid themselves of apps that are slow, push too many notifications, do not offer exclusive sales or promotions or have a confusing layout. Continue reading Brand Strategy for Mobile Apps Is Crucial, Tricky to Manage

Content Creators Discuss What Is Driving Augmented Reality

What’s driving augmented reality content today? That’s the question that Storymill president Mark Kapczynski posed to a panel of AR content creators at CES 2018 in Las Vegas. VNTANA chief marketing officer Natascha French, whose company creates interactive holograms, had one answer. “Based on our experience B2C gets the sexy headlines,” she said. “But B2B is the side that is actually monetized.” Brands come to VNTANA not only to create compelling experiences for end users, but also to collect data to inform future marketing. Continue reading Content Creators Discuss What Is Driving Augmented Reality

The Power of Location-Based Settings for AR/VR Experiences

During a CES 2018 panel, specialists in bringing AR and VR outside the home talked about the social value that location-based venues bring to the experiences. “If you want proof that people like to get together, CES is the proof,” said Fake Love director of new business Jared van Fleet, whose company was acquired by The New York Times. “It’s inconvenient to come here, yet people do it every year.” Fortune 500 companies ignore AR/VR at their peril, added Hollywood Portfolio founder/managing director Mariana Danilovic, who moderated the discussion. Continue reading The Power of Location-Based Settings for AR/VR Experiences

MoviePass Continues Rapid Ascent, Tops 1 Million Subscribers

MoviePass is a service that lets subscribers attend up to one 2D movie screening per day in theaters for a monthly charge. Shortly after a price drop to $9.95 per month in August (from a tiered $15-$50 model), the New York-based company announced it had jumped to 400,000 customers. By October, that number increased to 600,000. Last month, MoviePass dropped its monthly fee again for a limited time offer of about $6.95 per month for those willing to pay up front for a year. Now the company announced it “has since reached one million subscribers in less time than Spotify, Hulu, and Netflix.” Continue reading MoviePass Continues Rapid Ascent, Tops 1 Million Subscribers

‘Cars 3’ Released in Experiential 4DX Format, Boosting Trend

“Cars 3” became the first Pixar film to be distributed in the 4DX motion-based “immersive” film format from CJ 4DPlex, one of several formats that give the moviegoer a physical experience, as seats shake, tilt and pivot and the theater emits scents, sprays of water, fog and strobe-lighting, all relevant to what’s on the screen. These experiential formats have focused mainly on superhero and action movies, although 4DX films were released for “Despicable Me” in 2010, as well as “The Jungle Book” and “Kung Fu Panda 3.” Continue reading ‘Cars 3’ Released in Experiential 4DX Format, Boosting Trend

Game Changer: Netflix Film to Debut on Big and Small Screens

Netflix’s first feature film “Beasts of No Nation,” debuts at the 72nd Venice Film Festival, to be followed by showings at the Telluride and Toronto festivals. The movie, about a young boy recruited to fight a civil war in an African nation, was directed by Cary Fukunaga (“True Detective”) and acquired by Netflix for $12 million. The movie will open on October 16 on Netflix and 29 independent screens via distributor Bleecker Street. Netflix also plans a comprehensive ad campaign and awards season push. Continue reading Game Changer: Netflix Film to Debut on Big and Small Screens

Hollywood to Target Older Audience with Large Format Films

Large-screen format theaters have typically played action-adventure blockbusters aimed at the younger crowd. This fall, however, Hollywood plans to release more adult-oriented stories on the bigger screens, and often in 3D. Proof of that trend can be found in the films chosen to open recent festivals, including the 3D “Everest” at the Venice Film Festival and Robert Zemeckis’ 3D “The Walk” at the New York Film Festival. Exhibitors and their partners are also wooing adults to watch 3D films, which peaked in 2013 with “Gravity.” Continue reading Hollywood to Target Older Audience with Large Format Films

StubHub May Sell Tickets to Movie Theaters and Theme Parks

StubHub, a subsidiary of eBay, serves as a secure secondary market for live event ticket sellers and buyers. The company has become a reliable destination for ticket access to premiere live events such as concerts and professional sports. And now the company is looking to expand its offerings by including ticket listings for movie theaters, theme parks and museums. For the movie theaters especially, StubHub could help facilitate the sale of tickets that might not sell otherwise. Continue reading StubHub May Sell Tickets to Movie Theaters and Theme Parks