By MCN Editor editor@moviecitynews.com

MILL CREEK ENTERTAINMENT SIGNS HOME VIDEO DISTRIBUTION DEAL WITH SONY PICTURES HOME ENTERTAINMENT

Mill Creek Entertainment Licenses 250 SPHE Titles for U.S. and Canadian DVD and Blu-ray Distribution

MINNEAPOLIS, MN, April 23, 2012 – Mill Creek Entertainment, a leading home entertainment distribution company has just inked a home video distribution deal with Sony Pictures Home Entertainment (SPHE) covering US and Canadian territories.  Under the licensing agreement Mill Creek Entertainment will distribute 250 films from the legendary SPHE catalog via a wide variety of DVD and Blu-ray compilations and collections to Mill Creek’s extensive network of traditional and non-traditional retail partners.  Mill Creek will distribute classics such as Ship of Fools, Bonjour Tristesse, The Last Detail, Avalon, The Chase and Agnes of God and audience favorites such as Hollywood Homicide, Hostel, All the Pretty Horses, Saving Silverman, Hollow Man and Vertical Limit.

“This treasure trove of SPHE films represents a watershed enhancement of our growing filmed entertainment catalog,” said Ian Warfield, President and COO of Mill Creek.  “We are excited to work with the Sony Pictures Home Entertainment team to deliver this amazing line-up of star-filled titles for the enjoyment of an even broader audience of consumers.”

Many films included in this distribution deal will be made available in Blu-ray high definition format for the first time ever.  Multi-feature standard definition DVD collections are also part of the strategic release plan to bring this vast assortment of classic and contemporary films to market.  The first wave of releases can be expected Fall 2012 while the specific lineup of initial releases will be announced at a later date.

About Mill Creek Entertainment

Mill Creek Entertainment is one of the industry’s leading providers of value-priced DVD and Blu-ray features and compilations. The Minneapolis-based company licenses content from a broad range of major and independent studios to augment its library of owned content and original productions.  With an experienced senior management and sales team the company manufactures and distributes its growing product line to a network of over 30,000 retail and distribution locations.  Product categories include classic and contemporary films, episodic television, kids, animation, episodic documentaries, special interest and fitness. Mill Creek Entertainment can be found on the World Wide Web at http://millcreekent.com.

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch