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At CinemaCon, it invited some internationally renowned film directors to serve as consultants for the lab and to help Huaxia to conduct various tests and research projects. In addition, the company is planning to invest in the production of advanced-format movies and support related organizations and teams in delivering superior advanced-format movies that exemplify exquisite art and sophisticated technologies, thus attracting more people to cinemas. The Cinity Cinema System will be launched in August , with the first dual-projection systems to be installed in cinemas across mainland China, Hong Kong, Macao, and Taiwan, with additional systems to be installed worldwide later on.

The official launch is targeted for August Cinity Cinema System delivers a full range of high-frame-rate and high-resolution cinema projection technologies, including dual projection that supports 4K, high frame rate with frames per second, high dynamic range, wide color gamut, high-quality 3-D projection, and immersive sound.

AAM will also provide third-line technical support to the new sites. Producer presents us with the centralized visibility, tools, and controls we need to bring consistency to our customer experience and efficiency to our entire circuit, all from head office. CW will be the first exhibitor to benefit from this CMS offering, which has been designed with input from cinemas around the world.

This system uses cloud-based technology to broaden and deepen delivery reporting to the cinema advertising industry. Combined with our recent implementation of our broadband internet distribution system, this will grant full visibility to advertising data in real time for compliance reporting and campaign-performance analytics.

This is a powerful combination that will revolutionize the cinema advertising industry. The cloudbased reporting will augment the existing Screenvision Media reporting system and further support the already robust reporting across its entire network. Cinema 21 was one of the first cinema chains in Asia to invest in Christie RealLaser shortly after its launch almost a year ago. In addition, all auditoriums are equipped with Christie Vive Audio cinema sound systems.

And once they enter the auditoriums, the state-of-the-art technology from Christie RGB laser projection and Christie Vive Audio in all auditoriums will enhance their motion picture experience with every movie. The result is that we are now powering all 14 laser projectors for the same amount of power we used for just three of the old xenon lamp projectors. We are constantly subjected to momentary power outages caused by lightning. We looked for any options that would allow us to put the entire system on a battery backup UPS, so that when we get those short, one-second outages, the show goes on without interruption.

In fact, 95 percent of the power outages are for a mere second or two at a time. Now the show will go on. Each year at CineEurope, the award is given to a cinema exhibitor whose accomplishments, new developments, growth, and market leadership make it a standard-bearer for the industry. It has proven to be a pioneer in the industry, and we congratulate all on this well-deserved honor. The CineStar chain currently has 23 multiplexes throughout the former Yugoslavia including forthcoming sites in Banja Luka and Belgrade , with a total of screens and nearly 23, seats.

Tashie, son of co-chairman Jimmy Tashie and great-grandson of founder M. Lightman Sr. Memphis, Tennesse—based Malco Theatres is a fourth-generation family-owned-and-operated business that reached its th anniversary in Malco Theatres operates over screens at 34 locations across the mid- South, as well as bowling and family-entertainment centers in Louisiana and Mississippi.

SMG created its in-theater dining niche by combining an immersive theater experience, scratch food and craft cocktails, and a culture of hospitality, with a commitment to support and fund expansive community-outreach programs nationwide. The concept was established in TowerBrook has connections within the cinema and entertainment spaces through previous investments. Both cinemas are part of the El Punt cinema group, which is owned by the Sallent family.

The Full megaplex has 28 screens with a total of 2, seats and welcomes more than 1. The Full cinema complex is the flagship of the El Punt group; all screens boast 4K projectors, and 19 screens have Dolby Atmos sound. El Punt Ribera is located in a commercial district in Alzira, 44 kilometers south of Valencia. The complex, which El Punt owns, has 10 screens—each featuring Dolby 7. Kinepolis already had six cinemas in Spain, totaling 99 screens and more than 28, seats.

Construction is scheduled to begin June Since reacquiring the theater five years ago, ticket sales have more than tripled in response to the continuous upgrades, according to Donald Fox, president of Fox Theatres. Our next phase of growth is to expand from eight to 12 luxury auditoriums to better meet demand. We are in the process of obtaining approvals and expect to be open by late spring The concept would replace the previously announced Brookfield BistroPlex and is anticipated to open in October The theater will feature amenities from Marcus Theatres including DreamLounger recliners throughout, one SuperScreen DLX auditorium with an oversized screen, immersive Dolby Atmos sound, and optional heated recliner seating.

The bar, called The Tavern, will be different as well. It will feature an open-concept design complete with lounge and traditional bar seating. The movie theater that houses a fully operational brewery and brew master will observe anniversaries at the Round Rock and Little Elm locations, both in Texas, and the Carmel location in Indiana. As the year unfolds, Flix Brewhouse will also expand into new territory across the nation, adding several new locations in The original Round Rock location will mark its eighth anniversary on June 29, Leading up to that milestone, the Little Elm location celebrated one year in business on April Three days later, the Carmel location is planning to commemorate its fourth anniversary.

To date, the circuit has 10 theaters in different states. The renovations will also include new restrooms and lobby decor. Bow Tie Cinemas has operated both theaters since November With new reserved seating, guests will be able to select their seats while purchasing tickets at the box office, at an in-theater kiosk, online at bowtiecinemas. Food and beverage orders can be carried in from the concession stand or delivered to your seat prior to the start of the featured film.

The screen theater offers freshly prepared menu items and hand-crafted cocktails. Moviegoers will have their entrees, beverages, and traditional snacks delivered discreetly to their seats with just the push of a button. It offers fun seating options with a designated play area that allows them to enjoy 15 minutes of playtime before every show. This launch further strengthens our foothold in Karnataka, which is spread across the state with six existing cinemas in key locations.

As vice president, global business development, cinema division, for Christie, Freidberg will be based in Cypress, California, and report to Dale Miller, executive vice president, cinema division of Christie. At the U. A-List and Premiere members earn points equivalent to a 10 percent discount at the box office and concession stand, free size upgrades on popcorn and soda, priority lines, and no online ticketing fees. Did that get the attention of NATO members reading this column?

If so, please read on! Department of Justice DOJ believes that legacy consent decrees constitute an inappropriate antitrust enforcement tool. Simply put, AAG Delrahim does not want the government involved in long-term oversight of any particular industry based on consent decree provisions that may be decades old.

Instead, he believes that legislation and case-specific litigation should establish the appropriate parameters of competition. Given that philosophy, the Division has filed dozens of motions in courts around the country to terminate many such consent decrees. Now the Division stands ready to challenge two decrees with specific impact on motion picture exhibitors. First, in August of , the Division published its intention to examine the Paramount Consent Decrees, which establish detailed rules of the road in the motion picture distribution and exhibition industries.

The Division will soon go to court with its thoughts. Though the Paramount decrees are well known to many in the industry, and though this magazine has covered that issue previously see the October issue , there is now a second decree under potential scrutiny that is less known in our industry, but which could have a substantial financial impact on every theater operator in the country.

That consent decree establishes a broad framework for how music is licensed for performance in the U. Specifically, the consent decree provides that movie theater owners do not have to pay fees for the music in movies. Under U. Theaters may also publicly perform music in their lobbies, concession areas, in-complex restaurants and bars, and restrooms. Given the volume of musical artists and businesses that perform their work, and the speed of decision making, it would be highly impractical for individual businesses to negotiate the performance of individual songs or for artists to realistically enforce their rights.

Performing Rights Organizations or PROs were formed to collectively license many copyrighted works on a blanket basis in order to provide the flexibility business owners required while compensating the artists. By controlling monopolies in must-have blanket licenses for copyrights, the PROs amassed substantial market power, which in turn led to antitrust claims.

In the first half of the 20th century, movie theaters took PRO licenses just like bars and nightclubs. These licenses covered performances by pianists in the silent-film era, when each musician chose music independently to perform alongside the feature. Once talkies were introduced, the PROs attempted to continue the blanket licensing to apply to music incorporated into the movies themselves despite the fact that the primary rationale for the blanket licenses flexibility and enforcement no longer applied.

Unlike the live accompaniment, movie theater operators have no choice or ability to negotiate the music contained in the movies they exhibit—only movie producers have that ability. Further, movie theater owners have no ability to simply avoid playing music altogether as the music is integrated into the movie.

ASCAP took advantage of this imbalance and assessed higher and higher fees on exhibitors while prohibiting their artists from individually negotiating with film producers on potentially lucrative performance rights. This practice differed significantly from the manner in which every other creative right in a film was licensed.

Hundreds of theater operators then brought antitrust suits against ASCAP, claiming that the PRO should allow their artists to negotiate performance rights with movie producers instead of theaters, and that theaters had no real ability to negotiate for the music already included in the movies they exhibited. Theaters won this litigation in two cases called Alden-Rochelle and Witmark, and then the key principles of those decisions were incorporated into a revised consent decree with ASCAP in In other words, movie producers in the U.

As a result, theater owners in the U. Theater owners operating in other territories around the world do not benefit from the ASCAP consent decree or American antitrust laws. With no such protections, international exhibitors are subjected to monopolistic demands from local PROs with unfair market leverage. The American PROs in turn share the proceeds with their artists and the content publishers, which in the case of films are often the studios themselves.

In some countries the PROs are regulated somewhat effectively by national governments, while no such effective limits exist in other territories. Many international exhibitors pay music licensing fees equivalent to 2 percent of total box office receipts or more. Many long-serving industry experts believe that this disparity in performance-rights responsibility between exhibitors and producers in the U. Specifically, exhibitors in the U. But if the Justice Department succeeds in repealing the consent decrees, U.

Consider the possible financial impact of that scenario. What Does Congress Think? A set of principles and regulatory oversight have developed under the decrees. Immediate repeal of the decrees could create chaos. Given that reality, many industries have raised their concerns with Congress. But that provision requires only that the DOJ give Congress a reasonable notification period before seeking court action to repeal the decrees, and that the DOJ provide Congress with information about the potential impact of repeal.

What Are the Next Steps? The DOJ has several options. First and least likely , it could do nothing. Second, the DOJ could seek to modify the consent decrees but not repeal them entirely. Finally, the DOJ could seek to repeal the decrees, likely with a term of years for implementation of that repeal.

The term of years would give Congress the ability to legislate. Obviously, NATO will submit comments. NATO will meet with relevant congressional leaders to share our concerns. This process will likely take years. Many different industries could be involved in discussions with the DOJ and Congress, and as parties in court. Given the potential financial impact of adverse decisions, the music-licensing discussions could become the biggest legislative and legal battle NATO has undertaken in years.

The event had loomed large throughout the interview process and my initial onboarding, so I was a little nervous when I found myself at Caesars Palace frantically searching for my next meeting room or rushing past dinging slot machines on my way to a studio presentation. After five days of sit-downs, panel discussions, celebrity sightings, and business-card collecting, I boarded my flight back to Washington, D.

In meeting after meeting I was struck by the passion that NATO members have for the movie industry, whether exhibitors from the biggest of the big chains or owners of small-town single-screen operations. Theaters are vital to our hometowns, from large chains to art houses. They are gathering places that not only entertain moviegoers but also provide an important economic engine for their communities.

NATO will continue to work in partnership with local and state governments to provide quality, safe entertainment and employment across the country, but will also fight against bad legislation when it pops up. While the movie industry is new to me, a love for movies and the theater-going experience are not. I was an active and energetic kid, but when my parents took me to the movies, I was captivated enough by the screen to be quiet and sit still for 90 minutes.

The s to early s was a great time to grow up as a movie nerd: from the jungles of Jurassic Park to the decks of the Titanic, from entering The Matrix to battling orcs in The Lord of the Rings trilogy, I was bitten by the blockbuster bug young and continue to love seeing my films on the big screen.

I come to NATO with experience in nonprofits, government, and campaigns, but I am very excited to merge my two passions—movies and politics— into a job like this. The audience members were all outpatients and family members from several New York City hospitals who were excited to meet Zachary and escape into the magic of the movies.

Variety presented an adaptive bicycle to yearold Mackenzie, who lives with cerebral palsy and addressed the crowd using her communication device. Her mother, Joell, thanked all the supporters who helped make it possible for Mackenzie to finally ride bikes with her two little sisters, Eribella and Emberlynn.

The event raised funds for Variety St. Raising funds to support Variety St. It also honors two philanthropic citizens as Man and Woman of the Year. They will be provided breakfast and a goody bag before finishing up with an awards ceremony and lunch. Several special needs children who have recently been provided a trike by Variety will get the chance to show off their new wheels as they lead the golfers onto the course.

For sponsorship inquiries, please contact carol. The children will be treated to a custom T-shirt commemorating the day, a wonderful lunch, carousel rides, and a gift card to buy a souvenir in the gift shop. From the best-selling frank in theaters to our epic-flavored chicken fries, we bring a star-studded cast of winning taste performers.

We started with a nomadic existence. By , our programming had grown to weekly programs at the historic Katharine Cornell Theatre, built in the s, with supplemental screenings at venues across the island. Twenty years later, the Film Society has grown from the dream of a handful of volunteers to a vibrant, year-round cultural organization with over 2, members.

After turning down the lights for the first film in , we have shown over feature-length and short films that otherwise would not have been shown and enjoyed on the island. In these so-called nomadic years, the Film Society built an enthusiastic audience yet lacked an essential asset for the success it eventually achieved.

We consistently struggled with technical and artistic limitations because of the lack of a dedicated space. It was difficult to project the highest-quality image, deliver stereo sound, and use DCI equipment that would allow us to bring to the island the latest art house films that open in limited release in major cities. To grow, the Film Society needed to find itself a permanent home. In we were able to establish just that, a permanent home for the MVFS. We have also expanded our current outreach efforts with other island nonprofit agencies, as well as schools and local filmmakers, by programming specialty films and events for them.

We also have a comfortable lobby area with concessions for pre-show and post-show relaxation and discussion. Our audience at the arthouse MVFC is older, averaging 65 years, and A large majority of respondents are not interested in movies that push the limits of the cinema art form or that have a lot of action and visual effects.

Lastly, 53 percent of respondents said that they looked for films that teach them about other communities and perspectives. In the same survey, an overwhelming majority indicated that they are a member of the Film Society to provide support to the Film Society, and to feel part of a community. Sales are about half the national average, since most of our attendees are older and not looking to buy much candy. We primarily focus on high-end chocolates, fresh-baked cookies, and small bags of popcorn, nuts, and other healthy choices.

Like many art house theaters, we show mostly American independent, world cinema, and documentaries. We also program older classic titles and series of films like our Film Noir with Pinot Noir. This reflects the tastes of our audience. Our patrons are equally interested in screenings of films by locals or on local topics and settings, and in screenings of restored or remastered classics.

The Film Society operates two older commercial cinemas, the Capawock and the Strand Theatres, which are mostly programmed with bigger Hollywood-driven content. Unlike most art house cinemas, we produce six annual film festivals with diverse genre topics. In May , we celebrate environmental films—this year our focus is on ocean- and water-related issues—with the Nature as Inspiration Environmental Film Festival May 23—26, A favorite genre of our audience, foreign-language films, gets its own International Film Festival September 3—8, , now entering its 14th year.

Finally, the new Women in Film October 23—26, seeks to encourage, and raise awareness of, women filmmakers and storytellers. In collaboration with Exodus Foundation, the event will include several days of screenings and discussions about the current plight of refugees and immigration policies in America. We use all forms of advertising print, radio, in-house slides, and social media to promote our films and events.

Our best-performing form of communication is the weekly email we send out and the trailers we play in the theaters prior to the screening. Almost from the beginning, we saw the advantages of being able to choose whether to play a specific ad.

I must say that Spotlight advertisers are some of the best-conceived ads on TV and usually provide entertainment value when screened before a movie at the Film Center. These ads have also inspired some local businesses to create their own advertising spots to run in our theaters.

I would without hesitation recommend to other art houses a collaboration with Spotlight. The median number of films respondents planned to see this summer is On average, men plan to watch three more films than women. Godzilla: King of the Monsters and John Wick 3 are my most anticipated action films. But, like comedy, horror can be a mixed bag. The Lion King will, of course, make the biggest box office impact.

It seems like the season starts earlier every year. Quentin Tarantino usually has something to offer. Who am I? Chalk it up to teenage rebellion, but Smith always had his eye on joining the distribution side of the business. The executive has had a distinguished career in that side of the business since joining the sales department of United Artists in This year, Smith is celebrating his 40th anniversary in distribution and 30th at his current company, Sony Pictures Entertainment, which he originally joined back in under TriStar.

In , Smith was named senior vice president and western division manager for Sony Pictures Releasing. By , he was appointed executive vice president and general sales manager, overseeing domestic sales for the studio.

Smith was promoted to president of domestic distribution in To mark these milestones, Boxoffice asked Smith to tell us about his 30 years at Sony—and his more than four decades in entertainment. I always look back on that time as such a great learning experience. I have a great deal of respect for exhibitors and people who work in theaters. They have great impact on creating customers for the future and creating a positive experience for all of our films.

My time in exhibition taught me firsthand about dealing with the public: the good and bad of it. I worked for a couple of gentlemen who had a great work ethic, and I learned a lot from them about being prepared. Whenever the home office or studios called, he had all the information in front of him. He was always prepared.

It gave me the opportunity to network with them. Finally, after a couple of years, I got my shot. That would be your first studio job, at United Artists in I started at United Artists distribution in Los Angeles as a booker. It was a great learning experience for me to get an understanding of how distribution worked. It was a launching pad for me to grow. In that particular time there were more branches; my area was the Los Angeles branch.

The industry had not consolidated as much as it has today; at UA I went on to become a sales manager and from there I got my first branch and moved to Detroit for a year. I came back to L. In I made another move, this time to Cannon Releasing. What I will say 44 MAY We join in honoring our colleague and friend Adrian Smith for his outstanding career and endless support of the theatre industry. Over the last 30 years, Adrian has been a prominent and key player here at Sony Pictures.

I want to congratulate Adrian on this extraordinary milestone and thank him for all the energy and dedication he has put into his work over the years. It was a great place to learn different facets of the industry before going to work for TriStar in During another transformative time at the studio, Sony acquired Columbia and TriStar in What was that transition like? When Sony purchased both, they merged under Sony Pictures. I feel very fortunate to have worked over the years with some of the most talented people our industry has to offer, like Jeff Blake, Rory Bruer, and now Josh Greenstein, who has had a big impact on my career.

Not only has Josh taught me a great deal about our business, he has shown me what it means to be an inclusive leader. After three decades at Sony, are there any films or campaigns that stand out in your mind? Any rollouts that you really cherish? I have to say that I enjoyed seeing our beloved Jumanji from inspire the success that inspired Jumanji: Welcome to the Jungle two decades later. What he brings to the company is textbook leadership.

He has passion for the job, integrity, character, and a tireless, dedicated work ethic. Adrian has tremendous respect for his colleagues and employees, creates dynamic strategies, and has a can-do attitude for every challenge put on his plate. On top of it all, he is successful at everything that he does without ever losing his sense of humor. Not only is he great at his job, he makes all of our jobs easier in the process. And, he might be the nicest, most genuine guy you will ever meet in your life.

We had a lot of help from the exhibition community; they definitely rallied behind the film and helped us keep it in theaters and relevant to the moviegoing public. From your perspective, how has the business changed the most over the past three decades? The thing that most comes to mind is that the marketplace has become more competitive. On the bright side, I truly believe that the one thing that has been constant—and will continue to matter— is that audiences have a desire for that shared communal experience of a movie theater.

Exhibitors have done a great job, especially in the last couple of years, by enhancing the moviegoing experience and creating an environment attractive for people to leave their homes. What are some of the challenges and opportunities facing theatrical exhibition in the coming years? The challenge is competing for the entertainment dollars with all the different platforms and opportunities consumers have to be entertained.

As an industry we have to continue creating content that will get consumers off their couches and into movie theaters. Exhibitors have to do their part, as they have been and will continue to do, in creating environments that people really want to watch a movie in. An environment that has more to offer than what they could get at home. For example, on many an early Sunday morning, Adrian is always one of the first to check in and see how the weekend is stacking up with an unbridled enthusiasm that proves that he is not only one of the best executives in the business, but also a movie fan at heart and an early riser who makes every Sunday morning an adventure that is not just about dollars and cents, but about the heart and soul of the cinematic experience.

A rare and enviable trait indeed! All the best, Adrian! Picture Pioneers Foundation. In , you were honored at ShowEast with the Salah M. Hassanein Humanitarian Award. What have these charity efforts meant to you, personally? I truly believe that I have an obligation to give back and try to help others who are struggling or are maybe less fortunate.

Looking back, who have been some of the biggest supporters in your career? I feel very fortunate to have been a part of the industry for over 40 years and to have the support of so many individuals. Without a doubt, my constant supporter and counsel is my wife, Linda. She points me in the right direction every day. What does the future hold for you and for Sony Pictures Entertainment?

Forty percent of our films within the next 18 months are directed by women or people of color. First up is CinemaKahn, a fan-fueled Star Trek convention, followed by CinemaDons, a Godfather-like conference for gangsters, and, finally, the appropriately named SinemaCon—where anything goes. The skit prompted scattered chuckles from the crowd at the Caesars Palace Colosseum, but it hinted at a larger truth that permeated the week-long event.

As the dust settles behind a wave of consolidation, the future of the cinema business seems as promising—and fraught—as ever before. Exhibition has seen its own share of changes. Cineworld entered the North American market with its acquisition of Regal; Kinepolis did the same in acquiring Landmark Cinemas of Canada. Cinemex became one of the top exhibitors in the United States within a year of entering the market through the acquisition of Cobb Theatres under its CMX brand.

Earlier this year, Marcus Theatres crossed the thousand-screen benchmark with its purchase of Movie Tavern. The familiar players are all there, there are just fewer of them. Fewer studios, after all, could theoretically mean fewer movies on the big screen—a worry amplified by the surge in original productions destined for streaming services.

At a press briefing following his State of the Industry remarks, the executive shared his belief that more platforms will help audiences get exposed to more content—creating ancillary programming opportunities for cinemas. Fithian cited the renaissance of documentaries at the box office as an example of this bump in public awareness. Event cinema is one of the main benefactors of this development. The sector is coming off a fantastic New players like CineLife Entertainment the alternative-content division of Spotlight Cinema Networks entered the space with 15 titles in its first year alone.

Alternative forms of distribution have also begun to take hold. The service, which has not yet announced any titles or licensing partners, is scheduled to launch in China, Malaysia, and Singapore later this year. Despite this statistic, exhibitors like Moctesuma Esparza, CEO of May a Cinemas, a circuit dedicated to building cinemas in underserved Hispanic neighborhoods, have struggled to find content representative of those audiences.

Now there have to be distributors willing to take on these movies and theaters willing to play them. Just as Dolby and QSC currently offer accessibility products such as descriptive audio and captioning for patrons with disabilities, others have begun using similar steps to provide foreign-language tracks in their theaters.

Mobile app TheaterEars allows moviegoers to access a Spanish-language soundtrack directly from their phones—at no cost to them or the theater. First Class Seating showcased a curious innovation at the CinemaCon trade show that would allow viewers to access a foreign-language track through a headphone jack built into the chair itself. Whatever tension exists among cinemas with streaming services is less directed at any particular company than at their policy regarding theatrical exclusivity.

Some industry insiders remain confident the company will eventually adopt longer windows for theatrical releases. Most importantly, Netflix is no longer the only major streamer around. More competition in the home entertainment market implies that future content is unlikely to be concentrated on a single platform.

It feels like the equilibrium has been restored to a certain extent. The funding is intended to help expand the dinein chain across the United States and overseas. SMG founder and CEO Brian Schultz admitted in an interview with Boxoffice that the company looked at all its options before deciding to pursue a major expansion. So we made the decision to go big. Circuits of all sizes have dedicated significant sums in capex to update their circuits with premium amenities—including luxury seating, expanded concessions, and premium large format PLF auditoriums.

While amenities like immersive seating often come with a price bump for the consumer, others like laser projection and immersive audio are often installed to raise the standard of the moviegoing experience. A stroll through the CinemaCon trade show hinted at an overwhelming odyssey for exhibitors looking to upgrade their sites. They come for the product on your screens. Vowing to avoid the same mistakes, Richards has prioritized maintaining an up-to-date circuit in several key areas.

The proliferation of these formats in the last half-decade has to be considered alongside the decline of 3-D box office revenue in recent years. Global box office for 3-D titles has declined by 20 percent since Jed Harmsen, senior director of worldwide cinema and content solutions at Dolby, has seen that shift firsthand over the last half-decade. The company partnered with Cinionic to give its PLF solution dual-laser projection and immersive audio that meets THX certification standards.

Rather than opting to self-brand an entire PLF solution, Samsung is allowing exhibitor clients to choose how to promote their Onyx LED cinema screen in their theaters. The company claims to have 34 LED screens already installed around the world, with five additional committed in French circuit CGR has begun licensing its own immersive screen solution, ICE Light Vibes, to other cinemas after a successful run in its home country, where it has already reported higher grosses than Imax screens nationwide.

Its partnership with compatriot circuit Cineplex will be extended with the addition of 10 new auditoriums in Canada, and the company will be opening its first four auditoriums for Hoyts in select locations in Australia. Today, immersive seating has received the backing of nearly every major exhibitor around the world. Warner Bros. At a small Las Vegas reception that same week, leading Chinese distributor Huaxia announced it would be entering into an alliance with cinema tech providers Christie and GDC to promote the production of advance-format films that can help push adoption of high frame rate HFR and high dynamic range HDR titles.

Lee joins the alliance as its first mentor filmmaker in a program dedicated to making these technologies more available to the next generation of directors. The rapid rise—and subsequent fall—of MoviePass in helped clarify two important things for the exhibition community: 1 Consumers are interested in cinema subscription services, and 2 cinema subscriptions are only as good as their business model.

A new crop of companies emerged in the wake of MoviePass and Sinemia to offer their own third-party and white-label subscription solutions, most notably digital ticketing start-up Atom Tickets and ticketing solutions provider Influx Worldwide. While majors like AMC and Cinemark have already launched their own in-house services in the United States, many other circuits are taking a wait-andsee attitude as to which, if any, solution to adopt.

Will Palmer, CEO of cinema analytics firm Movio, has evangelized the importance of data collection for years and says he believes the industry is headed in the right direction. Implementing a strategy to best utilize consumer data is quickly becoming a challenge for exhibitors. Cinema advertising leader NCM recently ramped up its own efforts in data collection by making its pre-show more engaging for viewers through their mobile phones.

The hope is that by gamifying the pre-show through its Noovie Arcade app, NCM will be able to better identify and reach their moviegoers. But at the end of the day, we would all win by sharing our data and using it to draw more people to the movies. Doing so is going to require comprehensive effort—fusing together a pipeline of diverse content while leveraging investments in sight, sound, and seating technology—all at the right price.

They are being implemented today. On the final day of the conference, a minute drive from Caesars Palace and the lights of the Las Vegas strip, Galaxy Theatres celebrated the opening of its newest location. In the lobby, a bar area welcomes patrons with alcohol service and an expanded concessions menu with combo deals promoted on dynamic digital signage. Increasingly, these are theaters targeting average moviegoers in suburban areas.

We got to go in our pajamas and sleep on the roof of the car and all that. But the thing that made the biggest impression on me, probably, was the first R-rated movie that I got to see in a theater, which was Flashdance. What a feeling! Because my mom convinced herself that it was just about a ballerina with dreams, and that it would be OK to bring her and 9-year-old daughters to see. And we went to the Capitol Theater in Pittsfield, Massachusetts, which is a mill town, and we watched a steelworker become a ballerina.

It was gangbusters. So fun. I was throwing up in the back, but the audience loved it. So that was good. You always test it. You show it to people. I grew up in Washington, D. And somehow I got to go, and it was the most exciting moment of my life.

I want to do this a lot. That, too. But mostly go see movies. It was real independence. As a kid, going to the movies is the ultimate experience. There were 1, people in the Paramount Theatre [for the premiere of Booksmart at SXSW], and it was the most terrifying experience of my life. And also the best.

We had shown it to small groups of people, but you never know. It could have gone either way. But hearing the audience react was just amazing. That was great. We had an uncle who is an avid movie fanatic, and he would take us to the theater. He loved genre, so everything [we saw growing up] was genre: Star Wars, Flash Gordon, Krull—that old classic. I once watched Krull three times back-to-back in a theater. It was a double bill of The Jerk and Animal House.

Very simple. We took it to a film festival in Bilbao, and they showed it to a whole bunch of year-old kids. Those young Spanish kids just lit up and applauded at the end. You make something that you love and you believe in. By contrast, their Black Forest Organic Gummy Bears are made with organic tapioca syrup and cane sugar, fruit juice, and natural colors and flavors. Previously to be found mostly in retail spaces, the snack offers a healthier alternative to kid-friendly candy.

The cookies are nut-free and come in regular and chocolate varieties. Bar Fresh offers both single-serve packs, ready to be popped into a blender with some water and served to a sweaty customer, and a bulk mix fit for frozen-beverage dispensers. Whichever you get, many flavors have only the sugar that comes naturally in the fruit. Flavors include strawberry-banana and mango-pineapple. Non-dairy options are also available. Characters on the toppers include Batman, Superman, and characters from the Trolls and Despicable Me franchises.

On the packaging side of things, Smart Planet Technologies replaces traditional plastic coating with its own EarthCoating, which uses 51 percent less plastic. The result is a product that can be easily recycled using conventional recycling equipment. Through Pureco Products, paper products with EarthCoating are available to cinemas in a variety of styles, shapes, and sizes, fit for hot or cold food.

But have you thought about … pickles? Founded in , mini-burger purveyor White Castle has been working with cinema groups since Rolling out to theaters this year, the burgers are vegetarian and vegan, respectively. New in from Packaging Concepts Inc. Paper straws have seen a rise in popularity as more cities and businesses have moved toward banning their plastic counterparts.

According to the company, the new GF5 model cooks 20 to 40 percent faster than convection ovens and results in food that has 20 to 40 percent less fat than if it had been deep fried. Who were the providers showing off their immersive-seating wares at CinemaCon, and how do they differ? Read on to find out. For each movie screened in D-Box, motion designers encode a custom motion track, resulting in an immersive experience that is tailored to each individual film.

No encoding is required, meaning the 64 MAY system can be used with any movie. BKCS can be added to existing seats during the newbuild process or retrofits and renovations, often without the need to close screening rooms. No specialized audio track is required, increasing the amount of content—movies, concerts, e-gaming, and more— with which Tremor FX is compatible.

Organizers filled that gap gracefully by scheduling more feature screenings, four in total, all crowd-pleasing movies with buzz from influential festivals earlier this year. But there were still robust product presentations from four majors and two mini-majors. There is nothing like sitting in the cinema. As seen in the footage, comic dynamos McCarthy and Haddish both play it straight here, quite convincingly. He also seemed genuinely moved that the movie honors his Samoan heritage and the battle rituals of the Samoan people.

In a series known for its outrageous stunts, the sight of our heroes dragging a transport helicopter to an awful fate drew cheers from the Las Vegas crowd. Universal has several comedies on its slate. Producer Will Packer touted his new body-switching comedy Little and made sure the audience knew he had delivered for them before with Girls Trip. The irresistible Emma Thompson was effortlessly droll describing the genesis of Last Christmas, the romantic comedy she wrote based on the classic George Michael Christmas song.

From the evidence of the trailer, the film could become a Christmas perennial. Star Himesh Patel entertained the audience with a lovely version of the title song. R-rated sixth graders kind of a younger version of the duo in Superbad is a high concept that was just waiting to be plucked, and the trailer was filled with outrageous laughs. And Horn saluted Fox Searchlight on its 25th anniversary with a montage of their huge accomplishments, including four Oscar Best Picture winners.

With the vast resources of the Walt Disney Studio behind us, we are ready to write our next great chapter. All got a rousing reception, and Watts called Ford v. Especially impressive was the sequence from the new motion-capture The Lion King, with photorealistic but talking lion Mufasa teaching his young son, Simba, about the circle of life.

The reaction from the Vegas crowd was ecstatic. We ask ourselves how do we take these timeless stories and expand and update them to make them relevant for the times. Unlike other studio presentations that invariably run overtime, the Disney session ended 40 minutes earlier than billed. Perhaps another sign that the new Disney is very much a work in progress. The session opened with a genuinely fun filmed opening in which a wacky driver keeps bringing Gianopulos to the wrong convention SinemaCon, anyone?

Starring Kaya Scodelario and Barry Pepper, the film has a terrifying high concept that is actually kind of credible in this time of severe climate change: alligators on the loose during a Category 5 hurricane. Combining the mandate for diversity with a very recognizable TV property, Dora and the Lost City of Gold brings the popular Nickelodeon educational cartoon character to the live-action big screen. The trailer gave a very brief glimpse of Jim Carrey as the unhinged villain Dr.

Robotnik, so Carrey immediately emerged with a giant bucket of popcorn much of which landed in the laps of the front row spectators , did his zany Jim Carrey thing, and introduced a second trailer highlighting the bad doctor. Also showing promise for Paramount are the comedy Limited Partners, with the dynamic comic trio of Rose Byrne, Tiffany Haddish and Salma Hayek, and the still-shooting Playing with Fire, about a crew of tough firefighters saddled with three mischievous lost children.

Star John Cena commandeered the latter presentation. Original co-star Linda Hamilton and original director James Cameron as producer also return for the first time since Judgment Day. Deadpool helmer Tim Miller takes over the directing reins.

The footage was screened in 3-D, and the high-depth visuals certified this as one of the rare films that needs to be seen in that format. Among the other Paramount titles quickly listed at the end of the session: a new SpongeBob movie, another G.

STX may not be top of mind when discussing the current movie landscape, but its Motion Picture Group chairman Adam Fogelson made a good case for its relevance. And his awe of his stars seems genuine. He gushed over the five-decade career of Diane Keaton, who headlines their comedy POMS, about a woman who forms a cheerleading squad at her senior-living community. A fight sequence from John Wick: Chapter 3— Parabellum earned a rousing response, preceded by director Chad Stahelski introducing an actor new to the franchise, Halle Berry.

I feel like if someone attacked me on the street, God bless them. Because I know some shit now that will fuck them up! That experience can only happen in a packed-out movie theater. The cost? Ten bucks plus a dollar tax. You can see the full-page classic Boxoffice ad promoting the premiere on page We have no record of that evening, but we do know the weather that night was well below freezing. RKO pulled out all the stops to produce and promote their blackand-white epic.

The film opened just two weeks after Gone with the Wind yet was still a powerful draw at the box office well into and received two Academy Award nominations. That adaptation was featured on the January cover of Boxoffice , which you can see on page A few years later, Walt Disney Theatrical produced a stage version of the musical in Germany.

An epic, serious-in-tone English-language version was recently produced and staged in Seattle. Quasimodo was played by Joshua Castille, a deaf actor, while his songs were sung by a fellow performer on-stage. Thankfully, there were no singing gargoyles. The teaser image can be seen on page 81, while the reverse side of the gatefold may be found on the following page.

Screened for the press Thursday night, it, unlike its predecessor, manifests abundant sympathy for the deformed bell ringer and gives Charles Laughton another opportunity to display fine histrionic wares. To Cedric Hardwicke goes a sizeable share of the honors for a masterful performance as the bewitched chief justice. Alan Marshal and Walter Hampden acquit themselves admirably. In brief, RKO has something which rightfully deserves extended playing time.

Ivan Spear Boxoffice , Dec. Now, Fletcher has come full circle from his musical apprenticeship, becoming the go-to director for two biopics of massive pop stars. And then I got involved in Rocketman. So when the opportunity came to do an R-rated musical about Elton John, I jumped at the chance, because all of that fervor and ambition for Bohemian Rhapsody that had not been realized kind of found its outlet.

And then, of course, they had some issues with Bohemian Rhapsody. And this created what I understood to be a really interesting dynamic. A bit like All That Jazz—you have someone retelling their own story and looking back on their own life. With cracks and breaks and the way he misremembers things. And I think that if we tried to tell the story and ignore that or hide it, people would have felt like it was a self-serving fluff piece or something. Elton was like: Tell it how it was, give the idea of what he went through.

For me, the film is a story of a survivor, someone who has his problems and fights his way out to survive. Every day he turned up There are lots of just single takes of Taron, not just because I love him, because I do, but because of the performance and the twists and turns and gear changes that he makes within one take. Fletcher is happy to address the controversy.

Because, you know, love scenes at the best of times are tricky things. There are certain things I could just go and find online if I want to see that. They have issues about maybe some of the language occasionally: Do I need them to swear here? Because I give the actors very free rein. I think people are going to be amazed. As a straight man, I watch it and go: That looks great!

If you want me to come and be a part of it and help you, I was proud to do that. You know, Graham King had been working on that film for six to 10 years. And of course, I would love that for Elton. People love it. They went and saw it, and went and saw it again. I said right from the beginning: If you were going to go and see this onstage, everyone onstage would sing. You go see Wicked and everyone onstage sings. Hopefully, this could just transfer— boomp—straight on the stage and you could see it as a musical onstage.

Musicals particularly cross all those boundaries. It will always be there, because teenagers always need somewhere to go and cuddle. John Hurt. Bob Hoskins as well. Massive and an incredible, incredible actor. And Alan Rickman, a great, dear friend. These people who gave so much to me. Like Taron. Taron is an incredible talent that you can go: How do I support that?

How do I help that person elevate themselves to the greatest that I think they could be? Boxoffice spoke with the director about keeping his action franchise fresh, and what to expect from the latest installment in the series. Where does the third movie take off? Karma, fate, and all that.

We always liked the idea that none of the movies wrapped up with an overall happy ending. We were always drawn to what happens the day after the protagonist survives the trial. Best Penny Stocks. Best Swing Trade Stocks. Best Blue Chip Stocks.

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