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Those movies already have to fight hard for screen space in theatres packed to the roof with blockbuster rivals, while at the same time do their best to catch the attention of ticket-buying audiences. We’re not talking about the tiniest indie offerings, necessarily, but the mid-budget films that don’t have a huge multimedia property attached to them – films like Jeff Nichols’ Midnight Special, made for about $18 million, or Arrival, made for $47 million. But for this writer at least, there are one or two down-sides to all this.įor one thing, it serves to increase the widening gap between the very biggest films we get in cinemas this year – the ones with Marvel or Lucasfilm logos at the start, for example – and the ones a tier or two below. So beyond our little tantrum about Annihilation’s venue, why does the announcement even matter? Surely, if more people can see Annihilation, and the studio makes a profit, then everybody wins, don’t they? Quite possibly. When Annihilation was announced, we had every intention of seeing it in a theatre now, it looks as though we’ll have to fly to the US to see it in the format its director intended. Ex Machina was a contained, interior film, but it was nevertheless superbly shot, and looked pretty spectacular on a big cinema screen. This year saw Bong Joon-ho’s superb Okja appear on the platform Martin Scorsese’s forthcoming biopic, The Irishman, is also being bankrolled by Netflix, and is expected to emerge in 2019.Įven bearing all this in mind, our immediate response to Annihilation’s VOD destination left us feeling profoundly disappointed.
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Given how tough it is to get people to leave the comfort of their own homes to watch a movie in the cinema, it’s also good news for those who were looking forward to seeing the film, but were expecting to have to wait for the DVD or Blu-ray release to watch it.īesides, Netflix is now a patron of interesting films from respected directors. Netflix, with its millions of subscribers worldwide, will ensure that Annihilation will find a ready audience. The announcement has sparked a range of reactions so far, and it’s easy to see why, from one perspective, it’s hardly bad news at all. After the movie makes its theatrical debut in those countries next February, Annihilation will land on Netflix 17 days later in countries like the UK and elsewhere. Unless Netflix decides to give Annihilation a limited cinema release itself, Garland’s latest film will essentially go straight to VOD outside North America and the Far East. It has the hallmarks of a smart, potentially great genre film.īut then came the surprising news that Paramount plans to effectively bypass cinemas altogether outside the US, Canada and China. And finally, just look at the cast: Natalie Portman, Jennifer Jason Leigh and Oscar Isaac. Second, it’s a studio film that isn’t part of some huge multi-million dollar franchise – rather, it’s based on a Nebula-winning sci-fi novel by Jeff VanderMeer. First, because it’s the next film from Alex Garland, the novelist and screenwriter who made a stunning feature debut with 2015’s Ex Machina – a taut, superbly-made sci-fi drama about the increasingly blurry area between human and sentient machine. Only a few days ago, we placed Annihilation at the top of our most anticipated films of 2018 list.