Scream Factory Releasing ‘Escape From L.A.’ Collector’s Edition Blu-ray May 26

Scream Factory, the horror imprint of indie distributor Shout! Factory, will release a collector’s edition of director John Carpenter’s Escape From L.A. on Blu-ray May 26.

The film is a sequel to Carpenter’s 1981 film Escape From New York, which starred Kurt Russell as Snake Plissken, the anti-hero tasked with rescuing the U.S. President from Manhattan, which in the future has been converted into a walled off prison.

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In 1996’s Escape From L.A., Russell returns as Plissken, who this time is forced to rescue the president’s daughter from Southern California, which in the future has been rendered an island wasteland by a massive earthquake.

The cast also includes Stacy Keach, Steve Buscemi, Bruce Campbell, Peter Fonda, George Corraface, Peter Jason, Cliff Robertson and Pam Grier.

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The Blu-ray will offers the film with a new 4K scan from the original negative, and new interviews with Keach, Campbell, Jason, Corraface, special effects artist Jim McPherson and visual effects artist David Jones. Other extras include a still gallery, the theatrical trailer and TV spots.

A bare-bones Blu-ray edition of Escape From L.A. was previously released by Paramount in 2010. A Scream Factory Blu-ray of Escape From New York was released in 2015.

‘Big Trouble in Little China’ Collector’s Edition Blu-ray Coming Dec. 3 From Scream Factory

Indie home entertainment distributor Shout! Factory’s horror imprint, Scream Factory, is bringing director John Carpenter’s 1986 cult classic Big Trouble in Little China back to Blu-ray in a big way Dec. 3 with a new collector’s edition and a number of packaging options for fans.

Kurt Russell stars as tough-talking truck driver Jack Burton, who gets pulled into a supernatural adventure to rescue his best friend’s fiancée from a dangerous, magical world beneath San Francisco’s Chinatown. The cast also includes Kim Cattrall, James Hong and Dennis Dun.

Scream Factory’s two-disc Blu-ray set includes a trove of new bonus material.

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The first disc will include the film with a new audio commentary by producer Larry Franco, a new commentary by special effects artist Steve Johnson moderated by filmmaker Anthony C. Ferrante, and the legacy commentary with Carpenter and Russell from previous home video releases. An isolated score track also will be available. The disc also includes previously released material such as deleted and extended scenes, an extended ending, a vintage audio interview with John Carpenter, electronic press kit interviews and profiles, theatrical trailers, TV spots, a gag reel, a music video and photo galleries.

The second disc will include a vintage featurette and an interview with visual effects artist Richard Edlund from previous disc releases; interviews with Carpenter, Russell, Franco, director of photography Dean Cundey and stuntman Jeff Imada; and hours of new interviews, including actors Dun, Hong, Donald Li, Carter Wong, Peter Kwong and Al Leong, writers W.D. Richter and Gary Goldman, associate producer/martial arts choreographer James Lew, The Coupe De Ville’s member Nick Castle, second unit director/The Coupe De Ville’s member Tommy Lee Wallace, and movie poster artist Drew Struzan.

The Shout! Factory store at ShoutFactory.com is offering fans five different special offers for preorders of the title.

One is the collector’s edition Blu-ray with an exclusive 18-inch x 24-inch rolled poster of the new cover art by Laz Marquez.

‘Big Trouble in Little China’ Steelbook

The second is the collector’s edition in limited-edition Steelbook packaging.

The third is the Steelbook with an exclusive 28.5-inch x 16.5-inch rolled lithograph of the new Steelbook artwork by Nat Marsh, and a 7-inch green vinyl record by Sacred Bones, featuring music composed by John Carpenter and recorded by him, Cody Carpenter and Daniel Davies, with a slipcase with new art by frequent Carpenter collaborator Chris Bilheimer. Limited to 2,500 copies, the A-side includes the 2017 version of the main theme, “Porkchop Express (Big Trouble in Little China),” and the B-side contains a never-before-released recording of “The Alley War,” recorded in 2019.

The fourth bundle includes the Blu-ray with slipcover, rolled poster and green vinyl album.

The fifth option includes both the standard and Steelbook Blu-rays of the collector’s edition, the artwork posters for both editions, and the limited-edition record.

Preorders of the collector’s edition or Steelbook bundled with a purple vinyl variant of the 7-inch record are available from Sacredbonesrecords.com.

Netflix: Adam Sandler, Jennifer Aniston Comedy ‘Murder Mystery’ Sets Biggest Opening Weekend with 30.8 Million Views

Netflix June 18 disclosed that its new Adam Sandler/Jennifer Aniston original comedy, Murder Mystery, set an all-time weekend streaming record with 30.87 million views.

The second Netflix comedy movie starring Sandler and Aniston — which launched June 14 — generated 13.37 million views in the United States and 17.5 million worldwide through June 15.

Netflix disclosed the info on Twitter.

The SVOD behemoth, which is typically reticent disclosing viewership data, has opened up this year revealing streaming data on select original movies, including Will Smith’s Bright with 11 million views; Bird Box with Sandra Bullock (45 million views) and The Christmas Chronicles (25 million) with Kurt Russell.

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Netflix Says Record 45 Million People Streamed Original Movie ‘Bird Box’ During First Week

Netflix Dec. 28 disclosed that 45 million people streamed post-apocalyptic original movie Bird Box, starring Sandra Bullock, since its Dec. 21 launch. The tally is the largest-ever over a seven-day period for the subscription streaming video pioneer.

Netflix, which does not disclose viewer statistics as a matter of policy, previously revealed that 20 million people streamed The Christmas Chronicles, starring Kirk Russell.

“Took off my blindfold this morning to discover that 45,037,125 Netflix accounts have already watched Bird Box — best first 7 days ever for a Netflix film!” Netflix tweeted.

The service didn’t say whether viewer households were global or just domestic. Netflix ended the most-recent fiscal period with 130 million paid subscribers worldwide.

Bird Box, directed by Danish filmmaker Susanne Bier, and co-starring Sarah Paulson, John Malkovich and Jacki Weaver, among others, features Bullock as a single mom attempting to save her family from a mysterious force that makes people kill themselves if they see it. Bullock and her kids are forced to escape wearing blindfolds.

Netflix has high hopes for film, agreeing to give it a limited exclusive theatrical run to appease industry awards voters.

 

 

Ted Sarandos: 20 Million People Streamed ‘The Christmas Chronicles’ the First Week on Netflix

Netflix doesn’t release ratings or viewership data for original programming.

But that didn’t stop Chief Content Officer Ted Sarandos from disclosing that 20 million people streamed original feature-length movie The Christmas Chronicles, starring Kurt Russell as a brash-talking (and singing) Santa Claus, during its first week of release.

Speaking Dec. 3 at the UBS 46th Annual Global Media and Communications confab in New York, Sarandos conveyed that Russell told him none of his movies had ever attracted that many viewers in the first seven days of release.

“That’s a testimony … we can bring to the market for storytellers today,” Sarandos said. “We probably couldn’t have done that 10 years ago.”

The executive used the anecdote to underscore his long-running battle against the 90-day theatrical window. A mindset that Sarnados believes all theatrical releases should be made available across all distribution channels simultaneously.

“If every one of those views was a movie purchase, that’s a $200 million opening week,” he said. “Even movies that go on to make $1 billion, don’t typically do that the first week. The ability to tap into that big audience differentiates us from everybody else.”

It’s controversial stance that has resulted in exhibitors, film festivals and Hollywood largely shunning Netflix films at the box office and awards circuit. Critics contend the SVOD giant is leaving money on the table, undermining content creators, producers and actors financially by streaming new-release movies globally to subscribers paying $9 a month for access.

Sarandos disagrees, arguing his approach to distribution simply bucks the tradition around the opening box office weekend.

“It’s saying, ‘I really want my movie in the culture. I want people to talk about my movie in line at Starbucks,’” Sarandos said. “I want to be the topic of discussion with my story that I’ve invested my entire life telling.”

Sarandos said studio executives grew up in a world where that was the definition of the Zeitgeist: Being the No. 1 movie at the box office.

Separately, the executive expressed little concern about pending over-the-top video platforms from Disney and WarnerMedia.

He said the new competition has been on management’s mind for a while and prompted Netflix’s foray into original programming years ago with “House of Cards,” “Orange Is the New Black,” “Lilyhammer,” “Arrested Development,” and “Hemlock Grove,” among others.

“They represented everything from comedy to drama to horror,” Sarandos said.

Netflix is now a global producer of on-demand content across all genres, including 20 original unscripted TV shows streaming this year compared to zero last year.

The service will stream 70 local-language original shows in 2019. Sarandos said local productions featuring local casts and language are becoming worldwide hits, including most-recently Germany’s “Dark,” Denmark’s “The Rain,” and India’s “Sacred Games”.

“They have been remarkably relevant in their home countries,” he said. “We’re not trying to make Hollywood content for the world. We’re trying to make content from anywhere in the world to the rest of the world.

Netflix just released “Bodyguard,” a joint venture with the BBC, underscoring the fact 80% of new subscriber growth is originating internationally, which mandates global – not Hollywood – content production, according to Sarandos.

“We’re better off deciding our own destiny and making our own choices with the consumer in mind than a bunch of competitors in mind,” Sarandos said. “Some of those things [third-party SVOD services] will successful, but not to the detriment of Netflix.”