Please explain this to me …
Why is Alexander Payne’s “The Holdovers” available digitally next Tuesday? A Focus rep has confirmed that its VOD date is indeed on November 28th.
It doesn’t make much sense considering that Payne’s film added 700 screens this past weekend and pulled in another $3 million for a total of $8 million to date. The acclaimed indie finished in sixth place at the box-office. If you remember, last year, Focus bought the film for $30 million after a secret screening at TIFF.
It turns out that “The Holdovers” has lots of Oscar buzz, it’ll most likely nab a Best Picture nomination, Paul Giamatti should also be in the final five for Best Actor. It’s a film that plays very well on the big screen. There’s no reason to have it play on VOD when it has decent momentum going for it.
It’s no secret that movie theaters are currently in a desperate predicament. As studios are hysterically looking for answers to their underperforming films, it’s quite obvious that VOD has become a major source of income for them.
The pandemic forced studios to stream much of their new content. Many moviegoers realized just how much more comfortable, and less headache-inducing, it was to stream a new movie at home than to go to their local cineplex.
You can now just stay in, save parking fare, and not endure any of the annoyances that come with watching a movie in public — who wants someone texting and talking right next to them during a movie? It’s become an epidemic at local multiplexes.
However, although VOD has become a major source of revenue for studios, the shortening window between theatrical and home video is a cause for concern. It dilutes the theatrical experience.
I can confirm that Joel Coen’s “Jack of Spades” is based on Frances Frederica Montrésor’s 1901 novel “The Alien: A Story of Middle Age.” It’s a ghost story. A gothic mystery.