The Home Team Scores

The year 2020 will go down in the history books as the year of COVID-19, a once-in-a-century pandemic that shut down the nation – the world – until scientists could figure out exactly what the hell was going on.

It was also the year when all entertainment became home entertainment. With theaters dark, studios pivoted to premium video-on-demand (PVOD) – which in reality is nothing more than a higher-priced home window – to give consumers an alternative venue to watch their first-run movies.

It’s still too soon to talk definitively about lasting changes brought on by the pandemic. But there are certainly some good, solid, educated guesses that can be made.

First and foremost, the hallowed three-month theatrical window is gone. Out the door. Kaput. It’s been outdated for years; even the biggest theatrical blockbusters typically run out of steam after three or four weeks on the big screen, and there’s no reason in the world other windows have been kept shut for such a long period of time.

As a result, PVOD is not going to go away with the virus. When movie theaters fully reopen, which hopefully won’t be too much longer, they’re still going to be sharing the wealth with other platforms with such familiar acronyms as PVOD, PEST (I never did like that one!), and, of course, SVOD. We must remember that in the wake of the World Health Organization’s March 2020 declaration of a global pandemic, all movies did not go the PVOD route. Several big films were sold to Netflix, beginning with Paramount’s romantic comedy The Lovebirds, the first theatrically canceled film to go straight to a third-party streaming service. And then later in the year came the stunning, and disruptive, announcement by WarnerMedia that its entire 2021 theatrical slate would be released simultaneously to its upstart streaming service, HBO Max, which clearly needed (and still needs) a boost.

Regardless, the common denominator for all these acronyms is home viewing. And that means home entertainment – which Media Play News had a big role in redefining several years back as any filmed content available for on-demand viewing by the consumer,  regardless of whether it was bought or rented on disc or digital or streamed over the Internet – will remain the dominant way people will consume entertainment even when the pandemic is just a distant memory.

As our third annual marketing issue shows,  studios during the pandemic year of 2020 epitomized the expression, “When the going gets tough, the tough get going.” With theaters out of the picture (literally as well as figuratively), marketing shifted toward home audiences and, invariably, campaigns were either started or completely run by home entertainment marketers.

They were no longer playing second fiddle to their theatrical counterparts; they took the lead and saved what could have been a catastrophic year by eventizing PVOD releases and aggressively mining their catalogs for anniversary and other promotional opportunities.

At several studios, home entertainment marketing teams have been merged with their theatrical and, in some cases, television counterparts to create hybrid marketing organizations geared to the new reality of multi-window, multi-platform releases.

But let’s never forget who got the proverbial ball rolling. When Hollywood was down, it was the home team that stepped up to the plate.

Warner’s ‘The Little Things’ Tops U.K. Weekly Home Entertainment Chart

Warner Bros. finished an impressive week in U.K. home entertainment, securing 50% of the top 10 selling titles for the week ended May 19.

The studio’s The Little Things, starring Denzel Washington, Jared Leto and Rami Malek, made a No. 1 debut on the Official Film Chart, leading the list of the U.K.’s most popular films as the week’s biggest release on DVD and Blu-ray Disc.

In the film, deputy sheriff Joe Deacon (Washington) is sent to Los Angeles for a quick evidence-gathering assignment — but as he teams up with detective Jim Baxter (Malek) to help solve a serial killer case in the city, disturbing secrets from his past are unearthed that could threaten more than the case.

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Wonder Woman 1984 held on for another week at No. 2, as three-week chart topper Zack Snyder’s Justice League dropped to No. 3. DC animated adventure Justice Society: World War II launched at No. 4, knocking Spider-Man: Far From Home down one spot to No. 5.

Crime thriller The Virtuoso, starring recent Oscar winner Anthony Hopkins, debuted at No. 6, landing just ahead of soccer star Eric Cantona’s produced, Man United documentary, The United Way, at No. 7. Venom returned to the Official Film Chart at No. 8, and Tenet finished at No. 9.

Finally, 2018 comedy adventure Peter Rabbit jumped back to No. 10, thanks to consumers catching up with the character ahead of the release of sequel Peter Rabbit 2, which is in U.K. cinemas now.

The Official Film Chart Top 10 – May 19, 2021

Rank Previous Week Movie Title Distributor
1 New The Little Things Warner
2 2 Wonder Woman 1984 Warner
3 1 Zach Snyder’s Justice League Warner
4 New Justice Society: World War II Warner
5 4 Spider-Man: Far From Home Sony Pictures
6 New The Virtuoso Lionsgate
7 New The United Way Spirit Entertainment
8 Return Venom Sony Pictures
9 8 Tenet Warner
10 26 Peter Rabbit  Sony Pictures

© Official Charts Company 2021

Pandemic Hammers Disney Q2 Home Entertainment Retail

Ongoing effects of the pandemic on studio production and retail saw Disney report a 36% decline in second-quarter (ended April 3) content sales/licensing and other revenue to $1.9 billion, from $2.9 billion in the previous-year period. The segment includes home entertainment, which includes both packaged media and digital.

The decrease in home entertainment distribution was due to lower unit sales of new release titles reflecting the ongoing impact of COVID-19, partially offset by lower marketing costs. The quarter included Mulan and Soul, whereas the prior-year quarter included Frozen II, Maleficent: Mistress of Evil, Ford v. Ferrari, Star Wars: The Rise of Skywalker and Onward.

Frozen II and Star Wars: The Rise of Skywalker were the top-two selling DVD/Blu-ray Disc releases in 2020.

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Segment operating results increased from a loss of $25 million to a profit of $312 million. The increase in operating income was due to higher TV/SVOD distribution results and lower film and television cost impairments, partially offset by lower home entertainment distribution results.

Higher TV/SVOD distribution results were due to an increase in income from sales of episodic content, partially offset by a decrease in sales of film content. Higher income from sales of episodic content was driven by sales of more profitable programs in the current period. Lower results from film
content sales were driven by fewer titles sold in the current year as a result of the ongoing impact of COVID-19.

Report: 83% of Consumers Plan to Maintain, Increase Home Entertainment Spending

More than a year after the start of the  COVID-19 crisis, a majority of consumers are beginning to turn the page on the pandemic as vaccinations increase and a sense of normalcy returns, according to new data from Tremor Video.

Conducted in March and comprised of surveys with a nationally representative sample of 893 respondents in the United States, the research found that 56% of consumers feel optimistic about the year ahead and 60% predict a return toward normality within the year.

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According to the data, 83% of consumers plan to either maintain or increase their current spend levels when returning to a more normal life, on average across categories. Consumers report that they plan to either maintain or increase their spending at the highest rates for the following categories: groceries (92%), beauty & personal care (86%), consumer electronics (84%), home & garden (84%) and home entertainment (83%).

With this likely increase in spending comes promising news for brands with brick-and-mortar dimensions of their businesses, as 84% of consumers plan on shopping in-person during the year, with 29% reporting that they will do all of their shopping in-person and 23% reporting that they will do most of their shopping in-person with some online shopping.

Although the research suggests that consumers are eager to resume their pre-COVID activities, their enthusiasm for this return to more normal lifestyles does not necessarily mean that their rates of TV engagement will decline as a result. In fact, most consumers are likely to engage with connected TVs at comparable or higher rates as the pandemic dissipates. Over the next six months, 86% of consumers plan to watch live TV at the same or increased rates, 88% plan to watch the same or higher amounts subscription-based VOD, and 81% plan to maintain or increase their viewing of ad-supported VOD.

“After a long period of being homebound, consumers are feeling positive about the future, as they look to resume activities like dining out, traveling and in-store shopping, all of which should give advertisers a renewed sense of confidence in the months ahead,” Terence Scroope, VP of media insights and analytics at Tremor Video, said in a statement. “In parallel, our study suggests that consumers plan to increase their time with CTV content, reinforcing just how essential the medium will continue to be for advertisers as they look to fine-tune their 2021 media strategies.”

Report findings include that since March 2020, TV viewing has spiked considerably, with 61% of consumers saying they have watched more TV than before the outbreak of the pandemic. Over the next six months, increased engagement with both paid and free TV streaming will be most pronounced among younger age demos (18-44s) and higher income ($100,000 or more, annually) demos

Consumers report that they will be more supportive of local businesses with most (59%) planning to continue shopping locally. Most (58%) consumers have adopted new behaviors thanks to increased time shopping online during COVID; this is especially prevalent among the 18-34 age group.

 

Packaged Media Keeps ‘Wonder Woman 1984’ Atop Weekly U.K. Home Entertainment Chart

Warner Home Video’s Wonder Woman 1984 continues to resonate with consumers in the U.K. thanks to packaged media. The DC superhero marked a fourth week at No. 1 on the Official Film Chart through April 7. The title was assisted with 84% of its sales made up of DVD, Blu-ray Disc and 4K UHD Blu-ray copies, despite strong competition from the chart’s highest new entry: Disney Pixar’s Soul, which finished No. 2.

Spurred by the theatrical success of Godzilla vs. Kong, Warner’s Godzilla: King of the Monsters climbed seven spots to No. 3; Sony Pictures Home Entertainment’s Spider-Man: Far From Home remained at No. 4; while Warner’s Scoob! shot up 18 spots to No. 5. Universal Pictures Home Entertainment’s Trolls World Tour finished No. 6, while a double feature of Wonder Woman/Wonder Woman 1984 finished at No. 7.

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Moving up 13 spots to No. 8 was Warner’s Roald Dahl’s The Witches, which finished just ahead of Mel Gibson’s The Passion Of The Christ (Icon Home Entertainment) at No. 9 following the Easter weekend — the first time the movie has earned a spot in the Official Film Chart. Finally, Harry Potter: The Complete Collection (Warner) jumped to No. 10, marking the first time the full collection of eight movies in the franchise entered the Top 10.

Rank Previous Week Movie Peak
Position
Week on Chart
1 1
Wonder Woman 1984 (Warner)
1 4
2 New
Soul (Disney/Pixar)
2 1
3 10 
Godzilla: King of the Monsters (Warner)
2 22
4 4
Spider-Man: Far From Home (Sony Pictures)
1 72
5 23 
Scoob! (Warner)
1 24
6
Trolls World Tour (Universal)
1 37
7
Wonder Woman/Wonder Woman 1984 (Warner)
2 2
8 21 
Roald Dahl’s The Witches (Warner)
2 15
9 New
The Passion of the Christ (Icon)
9 1
10 13 
Harry Potter: The Complete Collection (Warner)
9 17

 

MPA: Domestic Home Entertainment Revenue Spiked 21% in 2020; SVOD Subscriptions Topped 1.1 Billion Globally

Home entertainment saw a resurgence during the pandemic in 2020 as an increasing number of moviegoers were housebound due to government-mandated COVID-19 orders, according to new industry data from the Motion Picture Association.

The trade group said content released on disc and through digital channels in the United States generated $30 billion in consumer spending, up from $24.8 billion in 2019. The uptick was driven by digital transactions, which increased 33% to $26.5 billion from $20 billion. Packaged-media sales declined 26% to $3.5 billion from $4.7 billion.

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For the first time ever, subscriptions to online video services in 2020 surpassed one billion, reaching 1.1 billion globally, a 26% year-over-year growth. In its totality, the global home/mobile entertainment market reached $68.8 billion in global revenue, marking a 23% increase over 2019.

The MPA defines home/mobile entertainment as transactional video-on-demand, both electronic sellthrough (EST) and rental; physical (DVD and Blu-ray Disc); and subscription streaming. Premium video-on-demand (PVOD) figures are not included. The MPA also said it is using data from DEG: The Digital Entertainment Group for its home entertainment tallies.

Other report findings contend that during the pandemic period of 2020, 55% of U.S. adults reported that their viewing of movies or shows/series through an online subscription service increased, while 46% reported that their viewing via pay-TV increased. More than 85% of children and more than 55% of adults watch movies or shows/series on mobile devices.

Notably, daily viewers of movies or shows/series on mobile devices skewed more heavily towards the 18-24 and 25-39 year-old age groups, as well as the Hispanic/Latino and African-American/Black ethnicity groups.

“Despite the challenges to the global economy brought on by the COVID-19 pandemic, the film television, and streaming industry has once again risen to the occasion,” Charles Rivkin, chairman and CEO of the Motion Picture Association, said in a statement. “Streaming experienced another huge boom, with new entrants into the market and more than one billion subscriptions worldwide for the first time ever. We kept audiences connected and entertained wherever they were and whenever they desired. Theatrical and home entertainment remain two essential parts of this dynamic and iconic industry, and I am confident that movie theaters will experience a great comeback in the months ahead.”

 

Let’s Give Home Entertainment Teams the Respect They Deserve

One of the more disturbing trends in Hollywood is that while home entertainment teams played a key role in keeping the studios afloat during the height of the pandemic, they are now the target of consolidations and restructurings as studios seek to balance the books at a time when the theatrical business is just beginning to come back.

What does it mean when we hear that studios are “merging” their home entertainment and theatrical teams? Invariably, it’s the home entertainment staffers who are shown the door.

Don’t get me wrong — I get that consolidations and restructurings are good business in these challenging times. Hollywood took a huge hit last year when movie theaters were shut down, virtually overnight, and while PVOD has certainly proven itself a lifesaver, the revenue from movies premiering at home are hardly enough to make up for the millions of dollars in lost theatrical revenue. We also have talented theatrical marketers who all of a sudden found themselves with little to do.

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But can’t there be some sort of balance? Why is it that home entertainment teams are taking the biggest, and sometimes the only, hit?

I think part of it is that traditionally, theatrical has been seen as the ‘A’ team. But as loathe as I am to resort to tired clichés, that’s akin to comparing apples with oranges. Home entertainment is a completely different ballgame. It’s not a bunch of minor leaguers, hoping to break into the majors. It’s more like the difference between Broadway and Hollywood, between stage and screen — two very different business models, two very different skill sets.

And I should point out that some of the business world’s top executives have come from the home video sector. Bob Chapek, who ran home video for the Walt Disney Co., is now CEO. Ted Sarandos, co-CEO of Netflix, used to work at a video chain, Video City. And let’s not forget Mitch Lowe, a co-founder of Netflix and Redbox, who for years ran Video Droid, a video rental store in California’s Bay Area, or Bill Mechanic, another Disney home video vet who later was tapped to lead the 20th Century Fox movie studio.

But then again, home entertainment has never gotten the respect it deserves. Forty years ago, when the business was birthed, studios were hoping to sell their movies to consumers. But when enterprising retailers bought movies on videocassette and began renting them, instead, Hollywood had a cow. Studios began suing retailers, their best customers, and it was only when the high court invoked the First Sale Doctrine, effectively allowing rentals, that grudging acceptance set in.

Studios began hiring dedicated “home video” executives, mostly from the consumer packaged-goods side of the business. One prominent studio home video president had been a refrigerator salesman. As the business grew, the home video business generated more and more money for the studios — as well as incredible ingenuity, such as Disney’s moratorium strategy and the Warner-led push toward revenue-sharing. And yet the segment’s leaders were still looked upon as second-class citizens several rungs down the ladder from the vaunted theatrical executives who ran the studios.

DVD brought a new level of respect to home entertainment. The new format, which shifted consumer habits from renting movies to buying them, brought in so much cash that home entertainment executives were even given a seat at the greenlighting table, particularly after home video revenues in 2001 for the first time ever exceeded theatrical revenues.

But when disc sales leveled off in the middle 2000s and attempts to launch a next-generation successor to DVD were bungled by a format war, home entertainment executives slowly began to be pushed out of the boardroom and into the backroom.

In the meantime, the caliber of home entertainment executives had improved significantly. When disc sales began to decline, home entertainment marketers refused to accept defeat. They jumped on the nascent electronic sellthrough model and came up with all sorts of clever tactics, including early windows, to grow the business. They adopted all the latest technologies, from data analytics to VR and AR, to promote new home entertainment releases. And when streaming began to take off — in part due to an early misstep in which studios sold or licensed their catalogs to Netflix — executives on the transactional side of the home entertainment business rallied. They did what they could to capitalize on their strengths, from forging new distribution deals — such as the Warner-Universal joint venture for physical product, and Lionsgate’s new deal with Sony Pictures — to issuing popular streaming series on disc, riding SVOD awareness much like theatrical awareness.

When the pandemic hit and the theatrical business effectively ended, home entertainment teams swooped in to save the day. They began mining catalogs for anniversary and seasonal reissues. They stepped up 4K Ultra HD release schedules. They were PVOD first responders, pivoting on short notice and essentially launching a brand-new business until their theatrical counterparts could take over. And they perfected the art of out-of-the-box thinking, taking creativity and ingenuity to new heights. Universal Pictures Home Entertainment launched a Twitter catalog watch-party series, which spotlighted several library classics and anniversary releases. Sony Pictures Home Entertainment also held social media watch-alongs, hosted by film talent and encouraging viewers to post reactions in real time on their social media accounts. Warner Bros. Home Entertainment held a virtual fan event celebrating all the superheroes and supervillains in the DC Multiverse and featuring panels with talent and filmmakers, displays of cosplay and fan art, and more. Lionsgate struck a series of promotional partnerships with digital retailers, including a “Best of Lionsgate” catalog promotion with Microsoft Movies & TV that led to a triple-digit lift in sales. And Paramount Home Entertainment marketers worked in tandem with digital retailers such as FandangoNow and Vudu to create curated promotions marketed primarily through Instagram and other social media channels. Home entertainment teams also worked tirelessly to create theatrical-style campaigns for PVOD releases such as Love and Monsters and Spell, including virtual junkets, New York Comic-Con panels and more.

As Paramount Pictures chairman and CEO Jim Gianopulos himself said in a Feb. 26 memo announcing big cuts to the studio’s home entertainment marketing team, “Many of the employees impacted by this restructuring have been part of the home entertainment division for many years. Throughout those years, they have shown enormous resilience and adaptability as the marketplace shifted from physical to digital formats.  Particularly, as we’ve faced the unique challenges of the last 12 months, the home entertainment teams have been absolutely instrumental in the continued success of the company, demonstrating incredible dedication, commitment and agility in the face of enormous and unforeseen hurdles …”

“Absolutely instrumental,” and, yet, ultimately expendable. I’m certainly not trying to tell the studios chiefs how to run their businesses. But somehow, this just doesn’t make any sense.

Lionsgate Home Entertainment Revenue Up Through Nine Months of Fiscal Year

Lionsgate home entertainment continues to see a digital lifeline as the pandemic undermines major new movie releases due to theatrical closures and limited seating.

The studio Feb. 4 reported third-quarter (ended Dec. 31, 2020) motion picture revenue of $250 million, down almost 48% from revenue of $474 million during the previous-year period. Segment operating income, which includes home entertainment, inched up 2% to $50 million from $49 million last year — despite higher theatrical and ancillary revenue in the prior-year quarter.

Like other studios/distributors, Lionsgate attributed the motion picture decline to the pandemic that has seen 65% of major market theatrical screens shuttered and major releases backlogged, curtailing packaged-media and digital releases.

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“Our success in generating strong returns from early PVOD, multiplatform, and hybrid models for the films FataleAntebellumRunI Can Only Imagine and The Secret speaks to our ability to monetize current films, while at the same time working with our theatrical exhibition partners to plan for the future,” CEO Jon Feltheimer said on the fiscal call.

The studio said five feature films have returned to production, three new film productions have started, and in the coming months Lionsgate will begin shooting the Wonder sequel White Bird from director Marc Forster; Shotgun Wedding, starring Jennifer Lopez and Josh Duhamel; Are You There, God? It’s Me, Margaret from producer James L. Brooks; Borderlands, teaming Kevin Hart and Cate Blanchett; and John Wick 4, starring Keanu Reeves for 2022 release.

Total home entertainment movie revenue in the quarter fell 16.5% to $159.5 million, from $190.9 million during the previous-year period. DVD/Blu-ray Disc sales tallied $36.2 million, down almost 52% from $75.4 million in the previous-year period. Digital revenue increased 6.5% to $123.1 million from $115.5 million last year.

Through nine months of the fiscal year, home entertainment movie revenue is down 6.4% to $476.8 million from $509.1 million last year.

Top-selling packaged-media releases in 2020 included Midway and Knives Out.

Television production in Q3 saw operating income swing to black with $30 million on revenue of $228 million. That compared with an operating loss of $6 million and revenue of $189 million the previous year.

Television home entertainment content sales skyrocketed to $61.1 million, from $10.6 million the year before. Disc sales topped $3.1 million, up from $600,000. Digital revenue reached $58 million, up exponentially from $10 million in the previous-year period. Through nine months, home entertainment sales of TV content is up 150% to $124.7 million from $49.8 million a year earlier.

In spite of the challenges, Lionsgate is currently shooting 19 scripted television series and, another 20 unscripted shows around the world.

Through nine months of the fiscal year, total home entertainment revenue topped $601.5 million, up about 2% from revenue of $589 million during the previous-year period.

Meanwhile, Lionsgate’s move into over-the-top video distribution continues to grow. The Santa Monica, Calif.-based studio saw global subscribers, including StarzPlay Arabia, a non-consolidated equity method investee, increased to 28 million, with global OTT subscribers increasing 900,000 to 14.6 million, 52% of the total. StarzPlay International OTT subscribers grew 26% in the quarter and domestic OTT subscribers posted gains of 300,000 subs.

Starz SVOD subs in the U.S. increased to 9.5 million, up 31% from 5.6 million during the previous-year period. International subs increased to 2.4 million from 700,000. Spanish-language based SVOD Pantaya ended the period with 900,000 subs, up 50% from 600,000 subs a year ago.

“From the Starz acquisition four years ago, through the international rollout that began in 2018, we’ve been converting and scaling Starz into a modern, data-driven global subscription leader that has become the first ‘traditional’ service to have more over-the-top than linear subscribers, a critical digital inflection point,” Feltheimer said. ” By the end of next quarter, we expect streaming revenue to surpass traditional for the first time as well.”

 

Home Entertainment Spending in 2020 Up 21% to Record $30 Billion, DEG Says

Consumer spending on home entertainment in 2020 shot up more than 21% from the prior year to a record $30 billion, spurred by movie theater closures and stay-at-home orders brought on by the coronavirus pandemic, according to estimates released Jan. 27 by DEG: The Digital Entertainment Group.

The trade group noted that digital spending accounted for the majority of the gains, led by subscription streaming, which saw spending climb 37.2% to an estimated $21.2 billion.

Transactional video spending also posted significant increases, with digital rentals up 18.3% in 2020 over 2019 and digital sales, or electronic sellthrough (EST), up 16%. According to DEG estimates,  consumers spent more than $2.3 billion renting movies and other filmed content through digital retailers (both cable and Internet) in 2020, compared with just under $2 billion in 2019, and nearly $3 billion on purchases, up from $2.6 billion the prior year.

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Consumers spent an estimated $2.5 billion on buying Blu-ray Discs, DVDs and 4K Ultra HD Blu-rays, down 25.6% from $3.3 billion the prior year. Disc sales had been declining for years but in 2020 sales were further diluted by retail store closures in the months following the World Health Organization’s March 11 declaration of a global pandemic.

In the fourth quarter, the DEG reported, total consumer spending on home entertainment rose nearly 16% from 2019 to an estimated $7.8 billion. Again, streaming led the way, with spending up 33% to an estimated $5.6 billion, or 72% of the total.

The DEG noted that premium video-on-demand (PVOD) figures are not included in the yearly or quarterly consumer spending totals. However, the trade group stated in a press release that “early insights suggest that interest is high, and results are strong. Universal has indicated that with 18 films released on PVOD across the past 10 months, with the addition of PVOD revenues, the company generated over four times what it would have expected to earn in the traditional digital home entertainment window alone. In total, the combined in-home consumer spend on these new Universal releases on a transactional basis represented over $500 million.”

Michael Bonner, the newly appointed president of Universal Pictures Home Entertainment, said in a statement, “Since the launch of PVOD, we’ve learned a tremendous amount, much of which has validated our belief that PVOD is poised to complement the theatrical business in a way that can meaningfully benefit the ecosystem across consumers, distributors and studios.”

The DEG also released the top 20 films for the year on its “Watched at Home” chart, which combines sales of physical media with digital rentals and sales.

  1. Frozen II (Disney)
  2. Jumanji: The Next Level (Sony Pictures)
  3. Star Wars: Episode IX — The Rise of Skywalker (Disney)
  4. Joker (Warner)
  5. Sonic the Hedgehog (Paramount)
  6. Bad Boys for Life (Sony)
  7. 1917 (Universal)
  8. Scoob! (Warner)
  9. Ford v Ferrari (20th Century)
  10. Knives Out (Lionsgate)
  11. Trolls World Tour (DreamWorks/Universal )
  12. Yellowstone: Season 1 (Paramount)
  13. Onward (Disney)
  14. Birds of Prey and the Fantabulous Emancipation of One Harley Quinn (Warner)
  15. Yellowstone: Season 2 (Paramount)
  16. Yellowstone: Season 3 (Paramount)
  17. Harry Potter Complete 8-Film Collection (Warner)
  18. Maleficent: Mistress of Evil (Disney)
  19. Bloodshot (Sony)
  20. Midway (Lionsgate)

Warner’s ‘Tenet’ Atop first Official U.K. Film Chart of 2021

Warner Home Video’s Tenet held on to the No. 1 spot on home entertainment’s first Official Film Chart of 2021 in the U.K. The time-bending epic starring David Washington had more than double the unit sales (physical and digital) of its closest competition, Disney/Marvel’s The New Mutants at No. 2.

The New Mutants entered the chart as the highest new entry of the week on digital downloads only. A dark spin-off of the X-Men series, the superhero horror movie stars Maisie Williams and Anna Taylor-Joy.

Roald Dahl’s The Witches (Warner) dropped to No. 3, as festive classic Love Actually (Universal) held on for another week at No. 4. Sony Pictures Home Entertainment’s Spider-Man: Far From Home re-entered the chart for the first time since October at No. 5. Bad Boys For Life (Sony) also returned to the Top 10, at No. 6, while Little Women (Sony) climbed to No. 7.

Last Christmas (Universal) dropped two places to No. 8, as Jumanji: The Next Level (Sony) rose to No. 9, and Warner’s Birds of Prey finished at No. 10.

The Official Film Chart Top 10 – Jan. 6, 2021

Rank Previous Week Title Studio
1 1 Tenet Warner
2 New The New Mutants Disney/Marvel Films
3 2 Roald Dahl’s The Witches Warner
4 4 Love Actually Universal Pictures Home Entertainment
5 Return Spider-Man: Far From Home Sony Pictures Home Entertainment
6 25 Bad Boys For Life SPHE
7 18 Little Women (2019) SPHE
8 6 Last Christmas UPHE
9 40 Jumanji: The Next Level SPHE
10 24 Birds of Paradise and the Fantabulous Emancipation of One Harley Quinn Warner

© Official Charts Company 2021