Right now I imagine everyone is looking for ways to help them des-tress and reduce anxiety in this stressful year. Well according to Sorina Daniela Dumtrache’s article “The Effects of a Cinema-therapy Group on Diminishing Anxiety in Young People”, cinema is just what we need. Today we are going to be looking over the details of Dumtrache’s Science Direct article. We will look at what methods the study used to explore its hypothesis and the conclusions the study came to. But first, let’s briefly summarise the study’s aims.
This study’s purpose was to identify how cinematic-therapy (use of cinema and/or movies to help with mental health issues) affected the personal development (namely the anxiety levels) of young participants. The study’s other purpose was building, enacting, and adapting a personal development cinema-therapy program to help its participants. But how did they plan on doing this and measuring the results?
This study used 60 subjects selected using cluster sampling. 30 participants were used in an experimental sample (focusing on using cinema therapy). 30 were used in a control sample (separate from the influence of the cinema therapy study). The participants were all between 19 and 22 years old.
Dumtrache then began the study, at the initial meeting before the cinema sessions, the experimental groups discussed the types of films they wanted to see as well as games they could use to test each other’s inter-knowledge and find out their problems and needs. There were then 10 cinema group sessions. These sessions began with the therapists instructing the participants to focus attention on one’s own inner moods and experiences. Then they watched the movies and afterwards looked at personal analysis and group awareness. The final session focused on feedback and used the Hamilton Anxiety Questionnaires to attain the group’s final anxiety levels.
After the researchers collected the data from the control and experimental groups, they used the “t-test statistical procedure” to test for the differences between the samples. And they found there was a more significant drop in anxiety levels with the experimental group than the Control group. Thus, showing that the use of films in therapy helped to reduce the participants’ anxiety.
Whether you’re watching films with a cinema audience or your friends and family at home, movies are a powerful force that can restructure and transform our lives. And especially with everything the world is going through, we need movies to help us relax. Now more than ever.
2020 hasn’t been the year any of hoped it would. As events were cancelled, people were forced to stay inside, it’s been tough on everyone. Ordinarily, we could go to our local cinema and escape for a few hours, but with many big releases now not arriving until 2021, things are different. Many theatres aren’t open at all, while others have reduced opening hours. Even when they are open, some are eerily quiet.
But there are still some films to watch. With the likes of Bond and Fast and Furious and even Wonder Woman are holding back, to the dismay of cinema chains, independent films are shining. Without the large budgets to make back, smaller, cheaper films are filling the gaps studios normally stay well clear of. This summer was supposed to see the release of blockbusters such as Black Widow, Candyman and Top Gun: Maverick. Instead, Trolls World Tour became the film everyone was talking about, ushering in a wave of films being released to streaming sites. But this isn’t just good news for Trolls, it means that most theatres have been left wide open…
Independent films are often buried when the new big summer blockbuster is out. Cinemas can only show so many films after all. Often if given the choice between an indie drama or another showing of a blockbuster, the latter will win. With most people in Britain only going to the cinema 3 times a year, they like to get their money’s worth. Watching something they know they will enjoy rather than take a gamble on something they haven’t heard of. Blockbusters are often longer, so it feels like more of an occasion. However, between the actor’s and crew’s salaries, post-production and marketing costs, these films are expensive and have to earn much more money before they start returning a profit.
Independent films can still be expensive (the original Iron Man is technically an independent film) but they are traditionally much cheaper to produce in comparison. This often means they have much lower expectations behind their performance. One advantage of this is that directors often have more creative control and more freedom. When millions of dollars aren’t at stake, some risks seem affordable, and different stories can be told in interesting ways. It also means that if the film is delayed, it isn’t bleeding money through delayed marketing, like Tenet and No Time To Die. Warner Brothers decided to release Tenet and it wasn’t quite the success they were hoping for. Meanwhile, After We Collided, a romance based on One Direction fan fiction did better at the box office than The New Mutants.
The Times Are Changing
Does this mean huge blockbusters will be gone soon? Definitely not. But it could mean that studios, and cinemas, stop relying on them. Indies can be treated as “filler” to use screens and keep cinemas afloat until the next big film. But this year has proven this isn’t sustainable. Instead, cinemas should embrace smaller films. Not only does it allow new talent to shine and get exposure, but it also allows different films to be more widely seen. A common complaint of the industry is that it’s always the same few properties having endless sequels, prequels, spin-offs and reboots, but independent films help prove that is not the case. Films like Saint Maud, Queen and Slim, and Babyteeth, as well as the success of this year’s virtual London Film Festival, have shown that there is plenty of good stuff to watch.
So next time you plan on going to the cinema, and don’t see any films you recognise, give an independent film a try. You might be introduced to your new favourite director, or the next big actress. Cinemas and audiences alike should start embracing independent films.
Recently Disney announced its future plans regarding its content and distribution. And today we’ll analyse how Disney’s decisions could affect the cinema industry as it still tries to weather the effects of the covid-19 pandemic.
Last week Disney announced a huge restructure with its Content creation and distribution being separated. Content creation will now focus on creating big franchise content for theatrical and streaming distribution, as well as general entertainment and sports content for Disney’s streaming platforms and TV networks. Meanwhile the “Media and Entertainment Distribution group” will handle monetisation and distribution of all the company’s projects. And with Disney reporting over 60 million Disney+ subscribers worldwide their efforts have shifted towards creating content for and distributing content on their streaming platforms.
Despite Disney’s shift to focus more on streaming, many studios don’t have Disney’s money and resources. So it’s hard to see this becoming an industry trend. Cinema distribution will still be needed to cover big-budget production costs.
But cinemas must adapt to survive without huge tentpole releases. There are many independent productions out there to entice audiences. And offers and rewards, targeted marketing, film clubs, virtual screenings; profit-sharing with VoD, and streaming services are certainly options that can help cinemas to make money. But will they succeed? Only time will tell.
Drive-in cinemas. The American phenomenon where you can enjoy watching films on a big screen from the comfort of your car. It’s something that brings all the benefits of the communal experience without the annoyances of viewing films in a crowd of people. Well with the current pandemic worries drive-ins are seeing a resurgence in popularity. And the UK is looking to get in on the action.
So, today we’re going to look at the history of drive-ins, as well as some of the drive-in cinema events coming to the UK. And asking if UK drive-ins will take off as they have in the US?
Drive-In Theatre history began when Richard Hollingshead came up with an idea to accommodate his mother, who couldn’t fit into normal cinema seats. He had the idea of allowing people to view movies from the comfort of their cars. He set up a screen between some trees to project movies onto, with a radio behind the screen. And in 1933 he opened the first official drive-in cinema in Camden, New Jersey advertising it as affordable family entertainment.
Similarly, Australia also enjoyed a history of drive-in success, with several big drive-in screens still operating today. The UK however never cracked the drive-in market. There were several attempts. In 2012 Route 66 opened, hoping to be a permanent fixture of the UK cinema scene, though it has since closed. And there are around 20 drive-in theatres currently operating in the UK. But compared to the US and Australia, UK drive-ins don’t have the same affection needed to keep business going. However, in the age of social-distancing, UK drive-ins may finally have their time to shine.
Coming Soon To A Destination Near You
Several pop-up drive-in events are coming to the UK over the next few weeks. Among them, The Luna Cinema and At the Drive-in, which will be screening films across several different UK areas (Including London, Oxford, the Midlands, Leeds, Manchester, and more) throughout the coming months.
Both are showing a wide variety of films. From modern Oscar contenders like Joker, and A Star is Born, to perennial favourites like Back to the Future, Grease and much more. Both allow you to order food and drink directly to your car. And both offer state of the art sound (broadcast to your car radio or a speaker which will be provided) and visual technology to ensure viewers get the best experience possible. But does this mean Drive-Ins will become a British mainstay?
Drive-Ins – Here To Stay?
Since the beginning of the Covid-19 crisis, many have wondered how the cinema industry will survive. With many movies now being released directly to on-demand, some argue that cinemas are a thing of the past. On top of that, according to some commentators, because the UK isn’t a car-based society like the US and Australia, the drive-in experience may not hold as much appeal for us. And in a time of economic uncertainty, many may not want to pay to see old films in a big car park.
It’s been already more than two months since we’ve set foot in a cinema and it feels like an eternity. For the cinema lovers, there might be light at the end of the very dark tunnel as the lockdown is being eased little by little. According to the latest news, the 4th of July would the day cinemas could re-open their doors. While it seems that the multiplex cinemas will be able to open on that day (if still permitted by then), the more independent cinemas might not be as is shown by the recent survey from the Independent Cinema Office (ICO).
Social distancing rule
It’s understandable that the big cinemas want to be ready for a July opening because of the possible release of ‘Tenet’ and ‘Mulan’. Many big chains will likely follow the strategy of Vue which includes giving families the possibility to isolate their seats from others, mandatory online booking, staggering screening times, and enhanced cleaning. This is to make sure that the social distance rule is upheld. Well, it’s exactly that rule that prevents smaller independent cinemas from being able to open their doors in July as well. According to 41% of the venues, they won’t be able to let the audience back in when social distancing measures are still in place. The main reasons for that are the practicalities of the venue and the need for large audience numbers to survive financially.
There are still 59% who think they might be able to open even with social distancing. The most important steps they would undertake is the placement of hand sanitiser stations (91%), face masks for staff (83%) and gloves for staff (80%). However, implementing social distancing rules in cinemas can’t go on forever as it would only work for approximately three months it seems. Why? Because of a 20% increase in costs (additional staffing, PPE and additional cleaning, etc.) and the 50% loss in capacity.
Not opening before September
However, even with social distancing, it seems that we will have to wait until the end of the summer to visit independent cinemas. While some venues think they may open in July or August, the majority expect to re-open in September. According to 14% of the respondents, they sadly won’t open until 2021, in the hope that social distancing will be a thing from the past.
It’s no surprise that independent cinemas want to wait until social distancing rules are (almost) non-existent and until the spread is under control. “As a small community cinema run largely with the support of volunteers we have to put the welfare of all those involved first. Social distancing will be difficult to achieve and is unlikely to provide confidence for staff volunteers and audiences to return in the short term.” is a reaction of one of the 497 independent cinema workers (amongst of which were CEOs, directors, and managers) that participated in this survey.
Many difficult months ahead
Saying that the upcoming months will be a challenge for the independent cinema is such an understatement. The last few weeks have already proven difficult and the future doesn’t look any brighter (yet). According to the survey, the biggest concerns are the practicalities of reopening with social distancing measures (no surprise there) and the audience’s confidence levels and lack of admissions. In the IOC report was stated that “audience confidence for our elderly demographic is going to be extremely challenging to regain. I fear that it would be better for our long term sustainability if we were to remain dark and furloughed until the need for social distancing is no longer required.”
How to support independent cinema?
Sadly, we won’t be able to return to independent cinemas soon. However, there are many ways to support them. The majority of the respondents thinks that help from government is much needed and that reduced distributor terms would also help them to survive during and after this pandemic. An extension of the furlough scheme until the end of 2020 and a scheme for PPE would also be extremely helpful.
The audience itself can also play a big part in the survival of independent cinemas. First of all, there’s the UK Cinemas Fund that’s been created by MUBI, the online streaming service, and film distributor. The campaign aims to raise £100,000 to help support independent cinemas and film festivals across the UK, so every penny is vital in the survival of the film industry in the UK. There are also many cinemas for which you can buy memberships and e-vouchers to support them. One thing is for sure: Independent cinemas need our support so that they can come out of this pandemic ready to open and stronger than ever.
A few weeks ago, the film industry was turned upside down due to shocking announcements. AMC Theatres mentioned that they would ban Universal Studios films in America and later it was also announced that Odeon and Cineworld would do the same in the UK. The reason? Universal Studios released Trolls World Tour, which broke digital sales records, directly on “premium” video on demand. After seeing the success of the release they have decided to release more films either directly to Video on Demand or drastically reduce the time movies go from the cinemas to home entertainment platforms. Because of the lockdown, many production companies need to come up with new ways to release their movies and as the audience spends more time indoors, major companies are responding to an increase in Video-on-Demand and streaming platforms subscriptions. They’re sending films now straight to streaming platforms instead of postponing the theatrical release.
While this might be a good solution for now because of the closure of the cinemas, this might not be positive for cinema chains in the long run. If this method seems to be successful for the production companies, then Universal Studios will certainly not be the last production company to “break the theatrical window”. The question remains: will breaking the theatrical window and the success of streaming platforms be the end of cinema-going as we know it?
What is the theatrical window?
Some people jump the first chance they get to watch movies on the big screen while others prefer to watch the new blockbusters from the comfort of their home. Well, in normal circumstances, the cinema-goers would have access to movies three months before others as the theatrical window is three months. However, that time between the end of the cinematic run of a movie and the moment that it will available via digital platforms and video-on-demand platforms has become smaller over the years. One of the reasons is because major companies want to make up for the loss they have to overcome due to the decline in DVD-sales. The other reason is the one we all have to deal with at the moment: The coronavirus.
Impact of COVID-19 on the film industry
That the coronavirus epidemic has had a major impact on film didn’t only become clear because of the postponing of releases, the movie-making itself but also the way movies are shown to the audience now. As mentioned before, people rely on films, even more, these days. Whether it’s to entertain their children, have a nice time with their partner or just to relax, movies are present in every household. This is being proven by the fact that Disney + has now 54.5 million subscribers worldwide since November and the amount of new Netflix subscribers in the globally during the lockdown was more than 15.8 million, double the number forecast. It comes as no surprise that recent movies like The Invisible Man (Universal), Bloodshot (Sony and Columbia Pictures), The Way Back (Warner Bros.), and Onward (Disney) were released almost immediately after the forced termination of their theatrical run.
Why would Universal & Disney consider breaking the theatrical window?
Why would big production companies such as Universal Pictures and Disney break the theatrical window? Well, that answer is plain and simple: Money. Due to the lockdown, companies aren’t able to show their movies in the cinema, and instead of pushing them back, they decide to release them anyway. People already liked watching movies from their home, maybe because of the price, the fact that they don’t have to deal with popcorn eating strangers and now even more so with the fact that they can watch movies without having to go outside and put themselves in unnecessary danger, due to the virus.
It might be a while before cinemas are back up and running as usual and before the audience flocks back to the “dark room” to immerse into the stunning movies the industry has to offer. Whether the theatrical window will stay smaller than the usual three months, even when everything is back to normal, is something that we can’t predict.
The future of film releases
Movies will always be a part of society, whether you will see them on the big screen or a smaller one. Production and distribution companies and cinema chains must work together to bring films to the biggest audience possible. On one side, the theatrical window still needs to remain as big as possible. The cinema chains won’t survive if production companies make that window smaller or just skip the cinema entirely. However, cinemas will also have to keep in mind that, despite the smaller window, people still want to watch movies on the big screen so banning movies of certain companies isn’t the right attitude either. There will always be a thirst for watching movies in the cinema and there will always be people who prefer to watch it in their own home with friends and family so why not work together and give both audiences what they want?
Many of us have the dream to see the world and to move to another city and so did this small-town girl who was living in Belgium. The dream became a reality at the end of 2016 when I moved to London. An entirely different world welcomed me with open arms, bright lights, and a diverse, entertaining, and mind-blowing culture. Film has always been a passion of mine and moving to London just heightened that love even more. It didn’t take long before I found my local cinema which was one of the big chains. Day in, day out, I was being emerged by stunning, captivating, and glamorous movies.
While the brand-new blockbusters caught my eye instantly, there was also the thirst for seeing more independent or older films that became a classic in their own way. Luckily for me, it didn’t take long before discovering a small, unique and incredible cosy cinema right in the heart of London: The Prince Charles Cinema.
From a tiny theatre to an awesome cinema in the West End
Where now The Prince Charles Cinema is, the site was a theatre back in 1962. After supporting the performing arts for many years, it became a cinema, but maybe not the one you would expect. Knowing that the cinema back then hosted the UK’s longest theatrical runs of “Emmanuelle” and “Caligula”, you can only imagine what kind of cinema it must have been. However, in 1991, the foundations for The Prince Charles Cinema were laid and the rest is cinema history. They describe themselves as one of the most popular independent cinemas in the UK and when attending a screening in The Prince Charles Cinema, it’s not hard to understand why they deserve that title.
From films shot on 35mm to 70mm presentations and from cult classics to the most recent movies. Don’t forget the sing-a-longs or the all-nighters! Yep, The Prince Charles Cinema has it all.
Only two screens but thousands of memories
Like most of the independent cinemas, The Prince Charles Cinema offers multiple types of memberships. You can either go for an annual membership (£10) or a lifetime membership (£60). You get discounts on tickets and snacks and there are even films you get to see for £1. When I discovered The Prince Charles Cinema for the first time, I decided to go for an annual membership. London is already expensive enough and I wasn’t sure how many times I would use the membership, especially because I have another for one of the bigger cinema chains already. But boy, was I wrong for not going for a lifetime membership?!
Whether it was seeing the great chemistry between Bill Murray and Scarlett Johansson in Lost in Translation, falling in love with Christian Slater in True Romance or being astonished by Hugh Jackman and Christian Bale dazzling performances in The Prestige, it was all a marvellous experience. Even that massive headache from all the spinning in Inception was worth it! It didn’t take long before that annual membership turned into a lifetime one.
The most memorable evening at the Prince Charles Cinema was one that happened very recently during the screening of The Room. Yep, the movie from writer/director/actor Tommy Wiseau. After seeing The Disaster Artist a few years ago, it was time to check out the real deal. Wiseau visiting The Prince Charles Cinema, a full house, and plastic spoons at hand. Yep, it became an evening I will never forget, even more so because I ended up in a Salsa club in Soho with fellow cinemagoers after that.
They will be back and so will I!
At the moment, The Prince Charles Cinema is closed but the “We’ll be back” banner gives me hope that the days of movies, excitement, having a great time, and meeting up with friends aren’t gone completely. I hope that I will be able to walk through the doors of The Prince Charles Cinema soon, sit back in one of those chair, and (re-)discover the great movies this wonderful cinema has to offer.
My first memory of the cinema is the mezzanine. Looking down at rows of empty seats, the art deco fixtures of a time long gone, and all of it lit up by the blueish light from the screen. I was with my Grandma watching a re-release of The Little Mermaid, my hands gripped the brass bar in front of our seats, my knuckles turning white. I was around five years old.
The local Odeon, now transformed into a cultural hub in my hometown, was a place I longed to be. I craved its dusty theatre and shabby, rundown lobby. As a teenager, when loitering around the city centre, specifically outside McDonald’s, as was the social convention, waiting for someone to invite you to a party that night, I used to try and convince my friends that our money was best spent at the cinema. We could catch an afternoon screening and still be out in time to find out which of our friends older siblings might buy us booze for that night but, they didn’t take to it.
I would have similar debates with my Dad, a man who thought of the cinema as an extravagance. To him, it was a place you go when it’s cold or raining, or as a special treat. He saw no sense in spending bright summer days cooped up inside a multiplex when the country parks and the great rivers of our nation were all free and readily available. We argued about it all the time. I begged to spend two hours in the dark instead of doing anything remotely ‘outdoorsy’, and he would not entertain it. I always lost this battle, if you could even call it that. I once wrote him a letter explaining, in ten bullet points, why we had to go to the cinema to see The Incredibles that weekend so I could complete a primary school homework assignment on reviewing. He wavered, unsure if it really was as necessary as my scribbled plea made out. That Saturday however, turned out to be one of those cold, rainy, days and so, mostly because of nature, he gave in.
When semi-independence reared its head around sixteen, and I got my first job at a retail chain, I spent every weekend (and most of every payslip) at the cinema. Myself and three friends formed a small troop of cinemagoers who would forgo some of the adolescent evening festivities in favour of film. Our taste was, well, to be polite, mixed. We saw The Kingdom of the Crystal Skull on opening night, Revolutionary Road one blurry Sunday afternoon, TheStrangers on a dark night that would make us terrified waiting for a ride home, Inception in a packed theatre, and Australia on an icy New Year’s Day. We saw whatever was new that week, with no real idea about reviews or aggregate websites. It was just the three of us, joined by the mutual love of cinematic escape.
When I lived in London in my early twenties, that escape became crucial, a tool to wield against the loneliness that comes with large cities. As long languid winter nights passed by, as taxi cabs waited, and bike messengers whizzed past, gliding through puddles made of endless rain, I would want to be anywhere other than in the city. The two hours I was able to spend in a different life kept me sane, kept me from giving in to the crushing isolation that felt so heavy. I would leave reality and enter into strange the German humour of Toni Erdmann, the escapist pleasure of La La Land, the close tension of Personal Shopper, the dark, sexy magic of God’s Own Country, and the beautiful calm power of Moonlight.
Yes, my love affair with the cinema has been a long one, and it is, and likely always will be, my favourite place to be. So, during this period of lockdown, it’s been hard to focus, to find any kind of experience to replicate this absent one. So far, the only thing I’ve taken solace in is that the last film I saw in the cinema pre-lockdown was Portrait of a Lady on Fire and, with its French restraint and love blooming in relative isolation, it feels like a fitting final film.
Of course, it’s not possible to recreate that cinematic experience at home. It’s too light out, the cat walks in and out of the room having a sneezing fit, and my housemates check their phones, send texts, or scroll on twitter while we watch. I am not innocent of this either, distraction happens so easily when not communally frowned upon. Last week, we made some microwavable popcorn and gobbled some store-bought sweets while watching a new release, available via streaming, but it couldn’t quite live up to the classic cinema experience. Still, it added a little zest to watching a new film at home and new releases are still coming, though at a slower pace.
Maybe this pandemic will alter how we think about film distribution, now that it’s somewhat levelling in terms of access. I find it hard-pressed to imagine any of the chain cinemas near me, who favour larger blockbuster fair near exclusively, would screen Eliza Hittman’s starkly subtle polemic Never Rarely SometimesAlways, yet it’ll be available to rent from May 13th. The same goes for BFI Flare’s ‘online festival’, making up for the cancelled event, including Sam Feder’s essential documentary Disclosure or Liza Xi Xiang’s regulated and mesmerising A Dog Barking at the Moon. These were all films that would likely have required considerable travel and money, on my part, to see. That’s if they screened near me at all.
There are cinephiles, the urban city types, who love to talk about male auteur filmmaking, who consider the likes of Netflix to be the ‘death of the cinema’. Even prominent name directors like Steven Spielberg find the streaming sites to be a real thorn in their arty sides. Except they don’t look at the reality; most people don’t have access to arthouse films on their doorstep. Leveller’s like Mubi, Curzon Home Cinema, BFI Player, and others have made it a great deal easier for most people but is ease even the issue? What it comes down to for most people is money. So many people are priced out of the cinema-going experience, with tickets well over £12 these days and travel to be considered too. If you can rent a film at home, for £15.99 and three or four of you can sit down together, snug on the sofa, at watch together for around £3.99 each, who’s to say that isn’t the best option?
Sure, I love the cinema. I love it more than eating a good meal, more than getting the weekend papers and reading them in bed. I love it more than fish and chips on the beach in some seaside town as the sun sets, more than napping, more than finding a tenner you didn’t know you had in your jeans pocket. Hell, I love it more than sex. I would even go as far as to say I love it more than good sex, than mid-blowing sex. It’s a vital part of my identity, of my routine, and, like so many other things right now, it’s not available to me.
It’s a great privilege to be able to go to the cinema regularly, as is the ability to miss it. People who are worried about job losses, financial hardship, or the vulnerable groups who are most susceptible to this virus have more substantial things to worry about during this pandemic. That this is one of my more significant issues with lockdown is a symbol that, really, I’m not all that affected.
When lockdown is lifted, and businesses reopen will I be heading to my local cinema with bells on? Yes, I will but maybe the way I approach it has changed. Last week, my housemates and I split the cost to rent the new Juliette Binoche thriller, Who You Think I Am and the South African military drama Moffie (both on Curzon Home Cinema). We’ve never done that before but liked both films and paid around £3 each to watch them. So, I couldn’t help but wonder*, maybe it really is time for us to reassess our viewing habits?
*Sorry, it’s the first column, and I couldn’t resist.
It’s a fact; cinema relies mostly on young people for their numbers. 15-24-year olds are consistently the largest audience to attend cinemas. But those numbers have been slowly declining over the years. What is causing this? Today we are going to research into the young cinema audience and see if we can answer why younger moviegoers aren’t attending cinemas and if they can be brought back?
Where are the young cinema audiences?
According to Stephen Fellows, some of the main factors hindering young people from going to the cinema are:
2018’s audience figures (at the time of writing) are not available. And while the high year attendance indicates these movies brought in a wide variety of demographics, the encouraging of teenagers and families to come and see the latest releases with low age classification, the telling of a range of stories to encourage interest from groups who may have been previously uninterested; the percieved uptake in value of the overall cinema experience (regarding both the viewing and social experience) indicates that 2018 could have seen a rise in young cinema attendance, as the industry tackled issues pertinent to this demographic.
What Should Cinemas Do?
But no matter what that year’s numbers may show, in the long term the cinema industry must do a lot more to bring young audiences back.
Aside from the family social element and showing more diverse stories aimed at interesting young audiences, consideration must also be given to the cost/perception of attending the cinema, the logistics of organising cinema trips and paying attention to social elements that young people can share with friends.
There are several ways to tackle these problems. Fellows said that young people value cinemas offering rewards for loyalty, as it makes the customer feel valued and also encourages more frequent attendance. Cinemas could also encourage socialisation through ventures like exclusive screenings for young people or film clubs. Frequent hosting and advertising of such events would also encourage good audience organization. Lastly, cinemas must aim to make visits more attractive/obtainable. This can be done by reducing ticket prices (possibly through group offers). Showing that cinemas are good value for their price (offering other incentives for the price of admission). Or constructing more cinemas across the country (allowing more people to easily access the cinema).
This will cost a lot to accomplish. But with more accessible cinemas, incentives geared towards repeat visits and greater social opportunities, it would surely encourage higher attendance from the younger audience.
Whether you’re a hero or villain you need a great weapon to help you vanquish your foes. And cinema is full of amazing weaponry. So, today we’re going to look at seven iconic movie weapons, who wielded them and their real-world origins.
Lightsaber (Star Wars Franchise)
The weapon of the most powerful beings in the galaxy far far away, the Sith and the Jedi. Many famous Jedi and Sith have wielded the multi-coloured laser swords. Including Anakin Skywalker/Darth Vader, his son Luke Skywalker, Obi-Wan Kenobi, Darth Maul, Ben Solo/Kylo Ren, and Rey. George Lucas decided to include a futuristic sword in the original Star Wars as a symbol of honour and chivalry. And with only a 4×5 camera flash attachment (the hilt), sticks wrapped in reflective material (the blade); the hum of a projector and the buzz captured from a TV set (the sound effects) Lucas and company birthed arguably the most famous movie weapon of all time.
Freddy Krueger’s glove (Nightmare on Elm Street Franchise)
Horror films have created several iconic weapons, some of which we will get into later. But horrors most inventively creepy killing implement is Freddy Krueger’s Razor Glove. Envisioned by director Wes Craven as a throwback to mankind’s primal fear of claws grafted onto modern equipment, not only is Freddy’s glove inventive but its very look is surreal and frightening. Perfectly fitting with the story’s nightmarish aesthetic.
Nunchaku (Bruce Lee Movies)
This traditional Okinawan martial arts training weapon has become a staple of martial arts movies specifically because of Bruce Lee. Bruce used Nunchaku in several of his movies (Enter the Dragon, Way of the Dragon & Game of Death). He wielded them with such speed, grace, and effectiveness that they were transformed in the public’s mind from mere training implements into incredible weapons in their own right.
The Infinity Gauntlet (Marvel Cinematic Universe)
The MCU needed to give its ultimate villain Thanos a weapon that would make an impression on audiences after ten years of build-up. Made of Uru metal, forged by the dwarves of Nidavellir, with a design ripped straight from the original comic and armed with the infinity stones that collectively give the wearer the ability to do practically anything, including wiping out half of all life in the universe, the Infinity Gauntlet is, without doubt, the most destructive weapon on this list.
The Holy Hand Grenade of Antioch (Monty Python & The Holy Grail)
In 1975, the Pythons gifted us with possibly the silver screens silliest weapon. When confronted with the dreaded Rabbit of Caerbannog, King Arthur and his knights use the Holy Hand Grenade, originally used by Saint Atilla, to destroy the beast. Shaped like the Sovereigns Orb of the United Kingdom there is no better weapon to destroy your beastly foes and satirize religion.
Revolver (Western Genre)
Everyone loves westerns and the one weapon that typifies the western is the revolver. Patented by Samuel Colt (later developed by multiple companies in the 1800s) as a singlehanded firearm, that can be fired several times without reloading. The revolver has become a symbol of the old west gunslinger. A weapon of great destructive capabilities that requires a keen eye and steady hand to master. No Mexican standoff is complete without one.
So ends my list of seven iconic movie weapons. Be sure to fire your suggestions for great movie weapons I missed into the comments.
A new year doesn’t only mean new resolutions that we’ll try
to keep but also a bunch of brand new, diverse, thrilling and exciting films.
We’ve selected ten films that will make from January the perfect start of 2020!
This latest film from director/writer/actor Taika Waititi
has been in UK cinemas for a few days and if you haven’t seen it yet, we
suggest you do. Waititi provides you with a unique view on the Hitler era in a
film that’s full of satire, spectacular A-list talent and incredibly promising
upcoming young actors. The chemistry between Waititi and young actor Roman
Griffin Davis is spot-on!
Jojo Rabbit is in cinemas now
Adam Sandler as a notorious and charismatic New York City
jeweller? It might seem like the next comedy from Sandler that might have an
extremely high predictability level. Nothing could be further from the truth
thanks to directors Benny Safdie and Josh Safdie. The brothers made from their
latest film a dark, humouristic, fast-paced and violent gambling/heist drama. While
you might feel some discomfort (not sure whether that’s a good or bad thing)
when watching Uncut Gems, the movie does only give Sandler the chance to
sparkle again, literally and figuratively speaking
Uncut Gems will be on the big screen from the 10th of January and available via Netflix from the 31st of January
While 1917will be released at the beginning of the new year, we dare to say that this movie from Sam Mendes will be the film with the best cinematography and editing of 2020. Mendes, cinematographer Roger Deakins, and editor Lee Smith make it feel like this film was shot in one take. Because of that magnificent element, you’re standing shoulder to shoulder with the two soldiers who have to deliver an extremely important message during the First World War. Esteemed actors such as Benedict Cumberbatch, Colin Firth, and Richard Madden are great as always but Dean-Charles Chapman and George MacKay are the ones that excel!
1917 will be in UK cinemas on the 10th of January
He already shone in Lucebut in Waves, Kelvin Harrison Jr. shows us, even more, why he deserves as many awards as possible. Together with great upcoming talent Taylor Russell and Alexa Demie, he tells the gripping story of a young family that’s being struck by loss, doubts and abuse. Luckily, there’s also a place for hope, love, and strong relationships. Director Trey Edward Shults can also rely on stunning performances from Sterling K. Brown, Renée Elise Goldsberry, and Lucas Hedges. Waves is a powerful and emotional film portrayed by a strong cast.
Waves is in UK cinemas from the 17th of January
A Hidden Life
Director Malick takes us back to World War II by telling a
very emotional story of a couple facing the terrible sides of the war. Franz
Jägerstätter (August Diehl) is being looked upon with agony because he doesn’t
want to pay taxes or doesn’t want to fight for his country. The less he’s
involved in the war, the better. He and his wife Fani (Valerie Pachner) live a
very sombre life but as long as they have each other and their children,
nothing can stop them. Until the war comes much closer than they want… This
results in a beautifully shot, highly moving and touching movie about love,
family and war.
A Hidden Life will be released on the 17th of January
The Personal History of David Copperfield
It was the openings film of the BFI Film Festival 2019 and
while you’re watching The Personal History of David Copperfield you’ll
understand why. The film isn’t only packed with A-listers such as Dev Patel,
Tilda Swinton, Ben Whishaw, and Gwendoline Christie but also with a lot of
humour, wonderful moments and beautifully shot scenes. With David
Copperfield by Charles Dickens under his arm, director Armando Iannucci
turns the story about family, trying to survive and finding unexpected love in
a gorgeous and light-hearted movie.
The Personal History of David Copperfield is out on
the 17th of January
If you’ve seen The Witch from director Robert Eggers, then you know that he makes on-point, stirring, dark and thought-provoking thrillers. With his The Lighthouse, he delivers that again! Eggers can’t only count on the electrifying music from Mark Korven and the striking black/white cinematography from Jarin Blaschke but also on the spectacular chemistry between Robert Pattinson and Willem Dafoe. Both men put on a mysterious and dynamic performance and bring the twisted and sinister story of the lighthouse keepers Thomas Howard and Thomas Wake perfectly to life.
The Lighthouse is released on the 31st of January
A Beautiful Day in the Neighborhood
Tom Hanks as the beloved children’s television presenter
Fred Rogers. You probably don’t need more than that to buy a ticket for A
Beautiful Day in the Neighborhood. With her latest film, director Marielle
Heller honours the real-life friendship between Rogers and journalist Tom Junod
(portrayed by Matthew Rhys). While Junod is being renamed to Lloyd Vogel, the
story remains the same. A wonderful one about a unique friendship, family and
human emotions. Both Hanks and Rhys dazzle and because of that, the movie
became a heart-warming, lovely and charming one.
A Beautiful Day in the Neighborhood will be in UK
cinemas from the 31st of January
Queen and Slim
He was already nominated for an Oscar for his stunning performance in Get Out and put on strong performances in Black Panther and Widows. She is an amazing upcoming talent. Yep, Daniel Kaluuya and Jodie Turner-Smith are making a great team as Slim and Queen, a couple whose first date isn’t going as planned. Their happy moments make space for darker and tragic ones. The result: Two young lives completely broken, two people living in fear and pain. Will their love for each other be strong enough to keep them together or will their disastrous past become too dark? You will get the answers to that question after watching this exciting Queen and Slim by director Melina Matsoukas.
Queen and Slim is out on the 31st of January
The Man Who Killed Don Quixote
After multiple attempts to make this film, tragically losing
important cast members and experiencing financial problems, The Man Who
Killed Don Quixote premiered at the Cannes Film Festival in 2018. We can’t
imagine what a relief that must have been for director Terry Gilliam. His
“most cursed film in cinema history” tells the story of genius film
director Toby (Adam Driver) whose creative days are sadly behind him. The
production of his latest film about Don Quixote isn’t going great and the
passion for filmmaking seems to decline.
This is until he finds a student movie he made about Don
Quixote (Jonathan Pryce). This discovery is the beginning of a trip down to the
memory lane. Driver and Pryce bring their A-game to this film and lead co-stars
Stellan Skarsgård, Olga Kurylenko and Jason Watkins wonderfully through a funny
and witty medieval story.
Catch The Man Who Killed Don Quixote from the 31st of January
Sorry We Missed You, the latest endeavour from Ken Loach (Kes, I, Daniel Blake), is a harrowing addition to Loach’s specific brand of socialist realist cinema. Featuring performances from a group of largely undiscovered actors, the film is a damning condemnation of zero-hour contracts and the current ‘gig’ culture that idealizes the entrepreneur, one who grafts alone to achieve and draws us, as a country, further away from empathy and collectivism. Set in Newcastle, Ricky (Kris Hitchen) takes up work as a delivery driver for the fictional courier service PDF. In a role in which he is considered ‘self-employed’ and finically responsible for the parcels he carries, he doesn’t ‘work for’ the company he works ‘with them’. He isn’t hired but rather asked to ‘come on board’, a manipulative twist on language to appeal to those in need. Sorry We Missed You captures working life in the North and the current state of the working-class in Britain with laser-like precision. The setting and subject also lead to a revaluation of the question: What is the relationship between film and the North?
The North of England is largely misunderstood by those that don’t live here. The thrill of hearing a Northern accent on a night out, the obsession with gravy, and the ‘correct’ word for your evening meal are all points of fascination and humour to those who didn’t grow up above Birmingham. Over in Hollywood, that misunderstanding is even worse. There’s the age-old adage that when asked by an American where you are from in England they are surprised or confused if you don’t say London yet, films from the North have often proved to be complex and intricate, writhing with history and division, with sex and sexuality.
Last month, I wrote about British Romantic Comedies and how they are, to their detriment, apolitical. They ignore the issues of class, sex, race, and many others that face our country today. Cinema from the North is the exact opposite: Mike Leigh’s Peterlootold a socialist story and portrayed a massacre that most had forgotten, Clio Barnard’s The Arbor is an experimental genre-blend that explored race and gender inequality on a Bradford Estate through the experience of Andrea Dunbar, Francis Lee’s God’s Own Country is a rich, political, and delightfully queer story set in the Yorkshire countryside, and William Oldroyd’s Lady Macbeth is an electric story of deception and desire filled with sexuality and power.
When Shelagh Delaney wrote A Taste of Honey (one of the most performed plays in British history and adapted into an acclaimed film in 1961) she did so after a boy trying to impress her took her to the Manchester Opera House to see a play. She wrote in a letter to theatre producer Joan Littlewood, ‘I had discovered something that means more to me than myself.’ As such, she created work that found drama and gravity in the world she came from. She found a voice and something to say and dared to push forward into a world she knew wasn’t built for her.
Like Delaney, the North is a place talent can, if given the opportunity, thrive. It has produced writers from the working-class comedy stylings of Willy Russell to the intrigue and betrayal of Jed Mercurio. It has formed directors like Terence Davies, whose Liverpudlian self-portraits are stunning and musical. Acting-wise, it has offered some of the strongest and most memorable performances in cinematic history. This writer has issues every day knowing we live in a world in which Julie Walters did not win an Oscar for her role as the chain-smoking, brash, ballet teacher living in Thatcher’s Britain in Billy Elliot. Nor will he be able to sleep well at night ever again knowing Jane Horrocks wasn’t even nominated for her dazzling and wild performance as a shy woman with a talent for impersonating musical icons in Little Voice. He will also forever be frustrated that Maxine Peake’s talent continues to go underappreciated and that routinely that affluent actors from the South continue to gain the most acclaim.
That relationship then? One in which talent has to stand out and fight for a seat at the table, to work to prove that the North is a place of art and culture, and to tackle politics and class head-on. It will strive to eviscerate British cinema’s idea of classlessness and fight to render the idea of a single ‘British accent’ entirely moot. It will not rest until the North is seen as it really is: diverse, visceral, and truly alive.
Sorry We Missed You is released nationwide on November 1st.
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