Paramount Releasing ‘The Corrupted’ on DVD Feb. 25

Paramount Home Entertainment will release the crime thriller The Corrupted on DVD Feb. 25. The film is currently in theaters and available on demand and digitally.

The film stars Sam Claflin as an ex-con whose attempts to return to a peaceful life with his son are sidetracked when he learns his brother is caught up with a corrupt property developer (Timothy Spall). The cast also includes Hugh Bonneville and Charlie Murphy.

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‘A Quiet Place’ Coming in 4K UHD Steelbook Before Sequel’s Theatrical Debut

Director John Krasinski’s A Quiet Place will come out in a Mondo X Steelbook 4K Ultra HD combo pack March 10 from Paramount Home Entertainment — just before the theatrical debut of its sequel March 20.

In the thriller, a family must navigate their lives in silence to avoid mysterious creatures that hunt by sound. Knowing that even the slightest whisper or footstep can bring death, Evelyn (Emily Blunt) and Lee (Krasinski) Abbott are determined to find a way to protect their children at all costs while they desperately search for a way to fight back.

The Mondo X SteelBook collaboration #038 features exclusive artwork inspired by Matt Ryan Tobin’s atmospheric poster highlighting the film’s iconic red string lights.

The 4K Ultra HD disc features a Dolby Atmos soundtrack and Dolby Vision.

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The Blu-ray in the 4K Ultra HD combo pack includes more than 30 minutes of bonus content, including the featurettes “Creating the Quiet”; “The Sound of Darkness,” about the editing; and “A Reason for Silence,” about the visual effects.

Paramount Reissuing Blu-ray of DeMille’s ‘Ten Commandments’

Paramount Home Entertainment is re-releasing its Blu-ray Disc editions of Cecil B. DeMille’s 1923 and 1956 versions of The Ten Commandments in digibook packaging March 10.

The new collector’s edition will include a 16-page booklet with photos and background information about both films.

The three-disc set contains the same bonus materials from the studio’s initial Blu-ray edition of the films in 2011: the 73-minute documentary “The Ten Commandments: Making Miracles”; a commentary on the 1956 film by Katherine Orrison, author of a book about the making of the film; newsreel footage of the film’s New York premiere; theatrical trailers; hand-tinted footage of the Exodus and Parting of the Red Sea sequence from the 1923 version; a two-color Technicolor segment; and photo galleries.

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DeMille’s initial 1923 version was a silent film divided into two parts: the first a re-creation of the biblical story of Moses leading the Israelite exodus out of Egypt, the second a modern tale of two brothers and how the 10 Commandments affects their lives.

His nearly four-hour 1956 remake focuses entirely on the story of Moses, from his early life to the Exodus as detailed in the Bible. The final film directed by DeMille, the 1956 version stars Charlton Heston as Moses and Yul Brynner as the Pharaoh. It was a massive box office success in its day and has become an Easter tradition on television.

In the 2011 configuration, the 1923 film was presented as a bonus feature alongside the making-of documentary on the third disc of a limited-edition boxed set of the 1956 film.

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Home Entertainment Execs Predict More Turbulence as the ‘Roaring’ ‘20s Get Underway

Coming off a year of momentous change, home entertainment executives expect more turbulence to hit their business in 2020.

Streaming has clearly become the dominant force, with two more high-profile subscription streaming services scheduled to launch in 2020. Comcast/NBC Universal in April will bow Peacock, with more than 15,000 hours of content and a free, ad-supported service as well. A month later, WarnerMedia will debut HBO Max, with a large library of titles from across the media titan’s family — including a curated list of classic movies.

And then there’s Quibi, a mobile-centric, short-form video platform launching in April, the brainchild of ex-Disney and DreamWorks chief Jeffrey Katzenberg.

But home entertainment executives, whose proverbial bread-and-butter has always been the transactional model — in which consumers pay a set fee to either buy or rent a movie, TV series or other filmed content, either digitally or on disc — insist there’s enough of an audience for both aspects of the home entertainment (or at-home, or direct-to-consumer) business.

“With an abundance of exceptional content combined with a plethora of platforms, we can expect a ‘roaring’ start to the ’20s as consumers are met with a mass of entertainment options,” says Bob Buchi, president of Paramount Home Entertainment. “It is now the challenge of the industry to focus on marketing and distribution to hone the messaging and delivery to meet the varied needs of consumers across linear, on-demand, subscription and transactional.

“While SVOD has captured the attention of consumers and created an ‘always on’ expectation, the transactional business continues to offer very unique and important consumer propositions: the first post-theatrical home viewing opportunity, the greatest breadth of selection, the highest quality viewing options, and custom bonus content to extend the entertainment experience. The data continues to show that SVOD and transactional can co-exist and thrive. More than half of viewers are involved in both activities, and despite the availability of catalog titles on SVOD platforms, we at Paramount saw record sales numbers for our catalog in 2019.”

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Jason Spivak, EVP of distribution at Sony Pictures Home Entertainment, is similarly optimistic. “As the business evolves consumers are becoming increasingly aware and comfortable with the ways that various distribution models fit together,” he says. “While SVOD delivers great value for many use occasions and types of content, the benefits of transactional models — recency, collectability and image quality — also continue to be prominent, especially in regard to new release theatrical content, and premier catalog titles.”

“Obviously we have been paying very close attention to growth and adoption of streaming services, and we are constantly evaluating their impact on our physical and digital business,” adds Jim Wuthrich, president of Warner Bros. Home Entertainment & Games. “With Warner Media’s HBO Max coming in 2020 the industry will continue to grow.  And as the business grows, so does access to an ever-increasing new consumer base who are familiarizing themselves with digital transactions and streaming, so it opens doors for us to bring in new audiences for our products and content.”

Ron Schwartz, president of worldwide home entertainment for Lionsgate, says “the transactional home entertainment space remains a very dynamic and robust business for our many types of content.” He touts the success on both digital and physical platforms of John Wick: Chapter 3 and Angel Has Fallen, calling those two films “great examples of the type of content that home entertainment consumers want to own. Overall, multiple steaming platforms and transactional, physical and digital will all continue to coexist as the marketplace continues to evolve.”

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Digital retailers agree. “In 2020, we think transactional and subscription will both continue to grow because they complement one another,” says Cameron Douglas, head of FandangoNow. “Nowadays, digital entertainment is a mainstream business. Every TV is connected and OTT services have become the norm for audiences looking for content at home. The growth bodes well for the future of our industry.”

Even at Disney, where much of the focus is on the much-hyped Disney+ service, there’s room for transactional, according to David Kite, SVP of marketing for Disney Media Distribution.

“With this year’s acquisition of 20th Century Fox, we remain committed to both digital and physical ownership,” Kite says. “We successfully integrated the Fox team into the expansive Disney home entertainment organization and have implemented a unified strategy that includes a more synergistic approach across key lines of business. We’re looking forward to another exciting year across both physical and digital platforms with a wide-range slate of home entertainment releases.”

In the first quarter of 2020, Kite says, “We will be releasing two very promising titles — the critically acclaimed awards contenders Jojo Rabbit and Ford v Ferrari.  We’re also excited about the rollouts of Frozen IIStar Wars: The Rise of Skywalker, Marvel Studios’ Black Widow, Disney-Pixar’s Onward and the live-action Mulan as our customers continue to build their libraries.”

While disc sales will likely continue to decline in 2020, no one’s giving up on DVD, Blu-ray Disc or, in particular, 4K Ultra HD.

“The 4K UHD physical market will continue to experience growth throughout 2020,” says Eddie Cunningham, president of Universal Pictures Home Entertainment. “We are encouraged by industry forecasts, which anticipate the sales of that format in North America alone will deliver 25% of Blu-ray Disc dollars in 2020.”

“We will continue to release the majority of our new release titles in the highest possible definition and also mine our vast catalog library for worthy and deserving films to be remastered, as we did this year with The Wizard of Oz,” adds Wuthrich. “The desire for classic titles in the ultimate high-definition format is definitely a factor in the continued momentum of 4K UHD.”

Spivak agrees. “As consumer viewing habits evolve, the disc remains a prominent part of the home entertainment market, particularly given the steady growth for 4K Ultra HD,” he says. “With households nationwide regularly upgrading their TVs to 4K UHD there’s every indication that 4K UHD will evolve beyond a niche audience of format enthusiasts. We will continue to put out most of our new releases and select catalog in UHD, while working with retailers to expand placement and experimenting with features that make the product most attractive to consumers.”

Disney’s Kite is similarly optimistic for the disc business. “Physical ownership remains a robust line of business for us, especially among the collectible consumer,” he says. “There continues to be a healthy appetite for the physical format, particularly with premium, and we already have substantial plans in place for 2020.”

Universal’s Cunningham stresses the importance of retail partnerships in maximizing the transactional model’s potential.

“Given that physical and digital transactional consumption rates are remaining steady year over year and that disc purchases are making up more than half of that consumption, there’s no question that movie buyers continue to be vitally important to retail,” he says. “At no other time in our industry has it been more critical to ensure that we work together to retain the loyalty of movie consumers, creating urgency for our products and delivering the utmost value, quality, accessibility and convenience possible.

“It is important for us to continue supporting our retail partners with creative thought leadership and close collaboration to ensure that we collectively continue to capture shopper attention and deliver key, compelling reasons to transact.”

Sony Pictures’ Spivak agrees. “More than ever we must embrace the fact that our retail partnerships are multi-faceted and cross distribution models — from transactional to SVOD and AVOD,” he says. “Ultimately, our mutual objective is maximizing the consumer value proposition and providing the best potential viewer experience.”

Oh, What a Year — With Transformational Changes, Home Entertainment in 2019 Got Smaller — and Bigger

The phrase “transformational change” has been used so much it’s become a cliché — and yet there really is no better way to describe what happened in not just home entertainment, but also the entertainment industry overall, in 2019.

The completion in March of the Walt Disney Co.’s purchase of 20th Century Fox saw the number of major studios drop to five from six. Some of the home entertainment sector’s most familiar faces were suddenly gone, including Mike Dunn, the longtime leader of Fox’s home entertainment unit, and Danny Kaye, the visionary behind Fox Innovation Labs. Later, in the summer, Janice Marinelli, Disney’s home entertainment chief, also exited in a surprise move, given that she had opened an office on the Fox studio lot and was reportedly screening staffers.

In November, two new streaming giants emerged to take on longtime leader Netflix, Apple TV+ and, most significantly, Disney+.

Meanwhile, a new flavor of streaming gathered momentum: free to consumers, paid for by advertisers. Among the heavyweights jumping into what’s known as “AVOD” are ViacomCBS, with its Pluto TV acquisition, and Comcast Corp., which in December was reported to be in advanced talks to acquire Xumo TV, which boasts more than 140 digital channels of programming across 12 genres, including sports, news, kids and family entertainment.

The overall impact of all these developments on home entertainment: It got smaller — and bigger.

Smaller, because the traditional transactional business model that has defined home entertainment since its birth more than 40 years ago has increasingly come under fire, with subscription streaming, in particular, gobbling up more and more consumer attention — and dollars — that previously would have gone toward buying or renting movies, either on disc or through digital retailers.

But also bigger, because streaming, in its various incarnations, is now widely accepted as being part of home entertainment — which is now broadly defined as people watching what they want, on demand. There’s even a new name for all of this — direct-to-consumer — which was first adopted by Disney and is now used interchangeably with “home entertainment.”

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Bob Buchi, president of Paramount Home Entertainment, says 2019 “was the year of transition.”

“From media mergers and changing consumer viewing habits to the explosion of streaming services, the landscape has shifted dramatically,” he says.

The Nov. 1 launch of Apple TV+ marked the tech giant’s entry into the content business, with nine original series. One of them, “The Morning Show,” picked up several Golden Globe nominations from the Hollywood Foreign Press Association (HFPA), a first for a new streaming service.

Less than two weeks later, Disney launched its much-ballyhooed Disney+, with a full menu of in-demand movies and series — including the “Star Wars” spinoff “The Mandalorian.” Disney said more than 10 million people signed up for the service in the first 24 hours. By the end of November, the service had 24 million subscribers, according to estimates from Wall Street firm Cowen & Co. (Netflix as of October had more than 60 million domestic subs.)

“It’s an exciting time and we believe we have a unique and significant role to play,” Ricky Strauss, president of content and marketing for Disney+, told Media Play News on the eve of the service’s launch. “Disney+ will compete based on the unparalleled strength of our brands, the quality of our intellectual property, and expertise in high-quality video streaming.”

And yet industry insiders insist that despite streaming’s growth, there’s room for transactional — largely because new theatrical films, particularly the blockbusters, aren’t available on SVOD services. This distinction has prompted FandangoNow, one of the big digital retailers, to boldly proclaim on its home page, “New releases not on Netflix, Amazon Prime or Hulu subscriptions.”

“Because we’re the first point of entry for fans to see movies in theaters, and first at home, we’ve seen a significant growth among consumers who are excited to own movies as soon as they’re available digitally,” says Cameron Douglas, head of FandangoNow. “Fans looking for high-quality content right out of theaters, including 4K HDR movies, don’t have to wait until they arrive later on subscription services, and innovative deals like rental binge bundles and the availability on new platforms keep them coming back to transactional digital services like our own.”

“New movie releases continue to be sought out by consumers during the first window in the home amidst the frenzied buzz around new streaming services,” adds Michael Bonner, EVP of digital distribution for Universal Pictures Home Entertainment. “While there’s no denying the landscape is becoming more competitive, this business has successfully co-existed with abundant availability of non-transactional content for a long time and we expect it to continue to do so.”

“There is space — and demand — for both transactional content as well as streaming — just as there is consumer interest in both digital and physical,” says Amy Jo Smith, president and CEO of trade association DEG: The Digital Entertainment Group.

Beyond new releases, streamers have a limited selection of older films and TV shows, particularly with their increased focus on original content.

“For many consumers, their streaming options are good enough,” says Mark Fisher, president and CEO of home entertainment trade association the Entertainment Merchants Association (EMA). “But just like the days when the first video rental stores opened and made it easy for the consumer to watch anything they wanted to watch when they wanted to watch it, online VOD retailers offer that same opportunity to the consumer. I know that every time I see a montage of old movie clips, I’m driven to watch titles that aren’t new releases — and these are titles not readily (or easily) found on the streaming services.”

Sales of digital movies, in particular, were a bright spot, with consumer spending up nearly 7% in the first nine months of 2019, according to trade association DEG: The Digital Entertainment Group.

“We’ve continued to see growth in EST (electronic sellthrough) — both in our new releases and in our catalog,” says Jason Spivak, EVP of distribution, for Sony Pictures Home Entertainment. “Certainly the enhanced consumer experience enabled by Movies Anywhere is part of that, as is increasing consumer connectivity in their homes. EST continues to gain prominence in our marketing planning, release data scheduling, and retailer partnerships.”

Ron Schwartz, president of Lionsgate Home Entertainment, says Lionsgate EST revenue grew 30% this year, “four to five times faster than the overall industry. With increased collaboration between studios and retailers, and more offerings such as dynamic bundling, customers are starting to build their lockers up to 10-plus titles. Recent data shows that once a customer gets to between 10 and 12 titles in their locker, their EST purchasing behavior doubles.”

In addition to selling movies, digital retailers also offer them for a la carte streaming, the digital equivalent of a physical movie rental. Redbox remains the only retailer to offer both digital and physical rentals, the former through an e-commerce site and the latter, through a network of more than 40,000 kiosks situated outside (or inside) large retailers like Walmart, convenience and drug stores, and other retailers.

“Redbox owns the transactional space with more transactions across physical and digital formats — for rental and purchase — than any other transactional provider,” says Redbox CEO Galen Smith.

In 2019, he said, Redbox expanded its offering of 4K Ultra HD discs into new markets, and stepped up promotions as well, with its Back to the Movies campaign and a joint Dinner & A Movie offering with meal delivery service DoorDash.

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In addition, Redbox Entertainment, a new content acquisition and production division, has further transformed Redbox into a multi-channel content provider and programmer. Launched in October, the new division is headed by Marc Danon, who spent eights at Lionsgate, most recently as SVP of acquisitions and business development.

Disc sales in 2019 continued to decline in the low double digits, with DEG reporting that in the first nine months of the year, combined 4K Ultra HD, Blu-ray Disc, and DVD revenues were down 18.5% to an estimated $2.3 billion — exactly half what they amounted to five years ago, in 2014.

But studios continued to support the disc. And while a trend among smaller titles is to release them only on DVD and digital, bypassing Blu-ray Disc, major new releases are still getting significant marketing campaigns behind them, particularly for the 4K Ultra HD editions. The UHD disc also made headlines last August when the UHD Alliance, along with leaders in consumer electronics, the Hollywood studios and members of the filmmaking community, announced collaboration on a new viewing mode for watching movies called “Filmmaker Mode,” designed to reproduce the content in the way the creator intended. Filmmaker Mode, bowing next year, will allow viewers to enjoy a more cinematic experience on their UHD TVs when watching movies by disabling all post-processing (e.g. motion smoothing, etc.) so the movie or television show is displayed as it was intended by the filmmaker, preserving the correct aspect ratios, colors and frame rates.

“For the time being, 4K UHD is still the gold standard for at-home content,” says Jim Wuthrich, president of Warner Bros. Home Entertainment & Games. “With hardware costs dropping and television functionality such as Filmmaker Mode being made available next year, there is still a great value proposition in owning content in 4K UHD, both physically and digitally, as is still represents the best home-viewing experience.”

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“As evidenced by the exceptional growth of 4K UHD to date, it is clear that there is a sizable appetite for premium high-definition products, and that format plays a meaningful role in boosting retail traffic,” says Eddie Cunningham, president of Universal Pictures Home Entertainment.

Retail partnerships are key, Cunningham adds. “Given that physical and digital transactional consumption rates are remaining steady year over year and that disc purchases are making up more than half of that consumption, there’s no question that movie buyers continue to be vitally important to retail,” he says. “At no other time in our industry has it been more critical to ensure that we work together to retain the loyalty of movie consumers, creating urgency for our products and delivering the utmost value, quality, accessibility and convenience possible.”

 

Reimagined ‘Twilight Zone’ on Blu-ray Feb. 18

Paramount Home Entertainment will release CBS All Access’ reimagined version of “The Twilight Zone” on DVD and Blu-ray Feb. 18.

The Twilight Zone: Season One includes all 10 episodes from the 2019 version of the anthology series.

The remake was developed by Simon Kinberg, Jordan Peele and Marco Ramirez, based on the original 1959 television series created by Rod Serling.

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Peele hosts and narrates tales of science fiction, fantasy and the occult, exploring humanity’s hopes, despairs, prides and prejudices in metaphoric ways.

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Paramount Brings ‘Playing With Fire’ Home Digitally Jan. 21, on Disc Feb. 4

Paramount Home Entertainment will release the comedy Playing With Fire through digital retailers Jan. 21, and on Blu-ray Disc, DVD and on demand Feb. 4.

The movie stars John Cena, Keegan-Michael Key and John Leguizamo as a team of firefighters who rescue three siblings from a wildfire and find themselves unprepared for the task of babysitting them as they try to locate the children’s parents.

Playing With Fire earned $43.3 million at the domestic box office.

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Blu-ray and digital extras include deleted scenes; bloopers; the featurettes “Lighting up the Laughs,” “The Director’s Diaries: Read by Star Cast,” “What It Means to be a Family” and “The Real Smokejumpers: This Is Their Story”; and Cena as Capt. Jake reading a bedtime story with an amusing twist.

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Paramount Sets Home Release Dates for ‘Terminator: Dark Fate’

Paramount Home Entertainment in January 2020 will release Terminator: Dark Fate for home viewing.

The sixth film in the “Terminator” franchise will be available through digital retailers on Jan. 14. Two weeks later, on Jan. 28, the film will become available on Blu-ray Disc, DVD and 4K Ultra HD Blu-ray.

The Blu-ray Disc, 4K Ultra HD, and digital releases come with over an hour of bonus content, including deleted and extended scenes, in-depth featurettes taking fans through the process of reimagining the world after Judgment Day, a look at the climactic final showdown, and a visual effects breakdown.

In addition, the digital release will include access to two more featurettes and previsualization sequences showing how the action was planned out prior to filming.  Select digital platforms also will offer film commentary by director Tim Miller and editor Julian Clarke, as well as an introduction and commentary on the deleted scenes

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The 4K Ultra HD disc and 4K Ultra HD digital releases feature Dolby Vision.  The film also boasts a Dolby Atmos soundtrack remixed specifically for the home to place audio anywhere in the room, including overhead.  In addition, both the 4K Ultra HD and Blu-ray combo packs include access to a digital copy of the film.

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Terminator: Dark Fate takes place decades after Sarah Connor (Linda Hamilton) prevented Judgment Day. A lethal new Terminator is sent to eliminate the future leader of the resistance. In a fight to save mankind, battle-hardened Sarah teams up with an unexpected ally (Arnold Schwarzenegger) and an enhanced super soldier to stop the deadliest Terminator yet.

Paramount Sets ‘Mob Town’ for DVD-Only Disc Release

Paramount Home Entertainment has set a Jan. 14, 2020, DVD release date for Mob Town, a drama starring David Arquette as a local trooper, Ed Croswell, who foils a Mafia summit in a small upstate New York town and exposes the mob’s ruthlessness to the world.

The cast also includes Jennifer Esposito, veteran character actor Robert Davi, PJ Byrne and Jamie-Lynn Sigler (Meadow from “The Sopranos”).

Mob Town was directed by Danny A. Abeckaser and written by Jon Carlo and Joe Gilford. The film was produced by Abeckaser’s 2B Films. The film was released theatrically over the summer by Saban Films. It is already available on demand and through digital retailers.

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Mob Town is inspired by an actual mob summit in 1957, when over 50 Mafia leaders across America converged on the rural town of Apalachin, New York to honor the “capo dei capi” (portrayed in the film by Davi).

 

 

Paramount Cuts VR Movie Deal With Bigscreen

Paramount Pictures and Bigscreen Inc. Dec. 16 announced a multiyear agreement to distribute classic 2D and 3D films in 10 countries worldwide through the San Francisco startup’s social VR movie-watching platform.

“Bigscreen’s virtual reality platform offers a new way for fans to experience films in their homes,” said Bob Buchi, president of worldwide entertainment for Paramount Pictures. “We’re excited to be a part of this experiment using cutting-edge technology to give fans a new entertainment option.”

Bigscreen’s virtual world, entered through headsets, allows users to customize personal avatars, hang out in a virtual lobby, and voice chat with other movie fans. Movies are streamed on screens inside virtual cinemas, providing a social movie watching experience.

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Four new movies will premiere in Bigscreen every week. Movies run for one week with a new lineup of movies available the following week. Films are broadcast live on a pay-per-view basis with scheduled showtimes every 30 minutes. December’s lineup includes blockbuster hits like Interstellar and Star Trek. For the full list of upcoming screenings and showtimes, visit bigscreenvr.com/cinema/comingsoon.

“We are excited to enable fans around the world to hangout, chat, and watch films together in our virtual movie theater,” said Darshan Shankar, CEO and founder of Bigscreen.

Bigscreen’s virtual screenings will be available in 10 countries: the United States, Canada, the United Kingdom, Germany, France, Spain, the Netherlands, Sweden, Australia, and Japan.

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In addition to 2D screenings, Bigscreen will also broadcast select movies in 3D. Bigscreen’s rendering technology uses VR to create a 3D picture in each eye, producing a level of depth and detail that is not possible with traditional 3D glasses.

Bigscreen can be downloaded for free from bigscreenvr.com and runs on the Oculus Quest, Oculus Rift, Oculus Go, HTC Vive, Valve Index, all SteamVR headsets, and all Microsoft Windows Mixed Reality headsets.

Tickets can be purchased through Bigscreen’s website at bigscreenvr.com/cinema