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Focus on really connecting to your actors and working with them to get their best possible performances. It can be helpful when finding your voice as a director, to also learn more about acting. Get involved with your local theatre group and try your hand at acting yourself. Being on the other end of the director actor relationship as well as performing in front of a live audience can really open your eyes and improve your directing abilities overall. You might also want to try your hand at participating in improv or even doing some directing on the stage yourself.

Vengeance: A Love Story. ?/10.

After the first 10 minutes, where you can fill a card 100% while playing Cop Trope Bingo, you get the deformed child of two very different movies. In the first movie you have a fairly dark, if poorly constructed, movie about the aftermath of an assault and rape where any one aspect of which could have been explored, but instead the writer and director give us a Whitman's Sampler of plot threads with none of them fleshed out beyond the initial idea. Nicolas Cage is not in this movie.

In the second movie however, Nicolas Cage stars in what I can only think to describe of as City of Angels 2. After tragically losing his dear Maggie to that damn logging truck, Seth moves out of LA and assumes the identity of John Drormoor, becoming a policeman who years later becomes involved in the lives of a mother and daughter in the aftermath of a violent attack. After what is obviously Seth/John trying to communicate with Cassiel at the edge of a waterfall for guidance, he is given a much warranted promotion from Angel to Avenging Angel, serving due justice to the duos attackers.

These two movies have been edited together. I don't know how to give this a numbered rating. There are 10 remaining.

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Because inferior sequels or prequels of larger-budget films may be released direct-to-video, review references to direct-to-video releases are often pejorative.[2] Direct-to-video release has also become profitable for independent filmmakers and smaller companies.[3] Some direct-to-video genre films (with a high-profile star) can generate well in excess of $50 million revenue worldwide.[4]

Direct-to-video releases have historically carried a stigma of lower technical or artistic quality than theatrical releases.[8] Some films released direct-to-video are films which have been completed but were never released in movie theaters. This delay often occurs when a studio doubts a film's commercial prospects justify a full cinema release, or because its release window has closed. In film industry slang, such films are referred to as having been "vaulted".[9] Like B-movies shown in drive-in theaters in the mid-20th century, direct-to-video films employ both former stars and young actors who may become stars later.[6]

Animated sequels and feature-length episodes of animated series are also often released in this fashion. The first feature length animated film to be released direct-to-video in the United States was Tiny Toon Adventures: How I Spent My Vacation in 1992.[11] The practice of creating and releasing regular fiction specifically for video did not really take off until 1994, with Disney's The Return of Jafar and Universal's The Land Before Time II: The Great Valley Adventure, neither of which was intended to hit theaters at any point in its production.[10]

By 1994, an average of six new direct-to-video films appeared each week. Erotic thrillers and R-rated action films were the two most successful genres.[6] Family films became more important than such genres later in the 1990s, as retailers stocked more copies of blockbuster films instead of more titles. According to the Los Angeles Times:[12]

Often, the downfall of live-action family films at the box office is their strength on video. Their appeal is to families with young children, who may go to only a couple of movies per year but who will watch many videos multiple times. The teens and young adults who drive blockbuster box office statistics stay away from family movies.

Some horror films that are unsuccessful in theaters, like Witchcraft, begin successful direct-to-video series.[6] Studios may also release sequels or spin-offs to a successful live action film straight to DVD, due to a lack of budget in comparison to the original.

Occasionally, a studio that makes a movie that was prepared as a direct-to-video film will release it theatrically at the last minute due to the success of another film with a similar subject matter or an ultimate studio decision. Batman: Mask of the Phantasm is an example of this. However, despite the movie's critically acclaimed success, its box-office performance was very poor, which has been attributed to the last minute nature of its theatrical release. The film had much better commercial success in its subsequent home video releases.

Other times, a direct-to-video movie may get a limited theatrical screening in order to build excitement for the actual release of the video such as was done for 2010's Justice League: Crisis on Two Earths, and Planet Hulk, 2016's Batman: The Killing Joke [13] or 2013's Sharknado. In some cases, other direct-to-video films can also be theatrically released in other countries.

As DVDs gradually replaced VHS videocassettes, the term "direct-to-DVD" replaced "direct-to-video" in some instances.[14] However, the word "video" does not necessarily refer to videocassettes. Many publications continue to use the term "direct-to-video" for DVDs or Blu-rays. Both disc-based release types may also be referred to as "direct-to-disc". A new term sometimes used is "DVD premiere" (DVDP).[15] Such films can cost as little as $20 million,[4] about a third of the average cost of a Hollywood release.[16] According to Variety, American Pie: Band Camp sold a million copies in one week, despite retaining only two actors from the original trilogy.[17]

Some direct-to-DVD releases recently have tended to feature actors who were formerly bankable stars. In 2005, salaries for some of these direct-to-DVD actors in the multimillion-dollar range from $2 to $4 million (Jean-Claude Van Damme) and $4.5 to $10 million (Steven Seagal), in some cases exceeding the actors' theatrical rates.[4]

With the increasing prominence of digital distribution platforms in the 2000s and 2010s, direct-to-digital releases began to emerge alongside, or in lieu of home video. In November 2007, Ed Burns' Purple Violets became the first film to "premiere" exclusively for sale on iTunes Store, being exclusive to the platform for a month exclusively. It had premiered at the Tribeca Film Festival in April, where it was reviewed positively, but only received modest distribution offers.[18][19] At the time, it was not very common for consumers to make digital movie purchases.[20]

Unique circumstances have also resulted in direct-to-digital releases, sometimes alongside a limited theatrical release; the 2014 film The Interview was released simultaneously on digital and at selected cinemas, after major chains dropped the film due to terrorist threats by a hacking group believed to have ties to North Korea (whose regime is satirized in the film). The group had also leaked confidential data from the internal servers of the film's distributor, Sony Pictures.[27][28]

The COVID-19 pandemic resulted in worldwide closures of cinemas due to economic restrictions and guidance against public gatherings, which prompted direct-to-digital releases for several major films; the Chinese film Lost in Russia was acquired by ByteDance for 630 million yuan (almost 100 million in US dollars) and streamed on its platforms (including TikTok) for free in lieu of a theatrical release, as part of a larger relationship with the company and the film's distributor Huanxi Media.[29] A number of U.S. films were shifted directly to video-on-demand rentals in lieu of a theatrical release,[30][31][32] while some have been sold directly to subscription services, including Disney+,[33] Max,[34] Netflix,[35] and Amazon Prime Video.[36]

OV ("original video") are movies made for direct-to-video release in the Japanese market. OVA ("original video animation")[37] is distinguished from OVM ("original video movies") or V-Cinema, which usually refer to non-animated works. Different production studios may use other labels like "V drama".

With the rise of VHS home video and the decline of the Japanese economy in the late 1980s, film studios struggled to recoup investments on big-budget films.[citation needed] Inspired by the success of OVAs, Toei released its first V-Cinema, Crime Hunter, in March 1989. Following Toei's success, other studios began to release a slew of direct-to-video movies. Relaxed censorship in V-Cinema gave way to the premier and rise of expressive auteur directors such as Takashi Miike, Hideo Nakata, Shinji Aoyama, and Kiyoshi Kurosawa.[39][40] As the release of these titles were outside of usual distribution, studios and directors worked quickly to capitalize on niche markets or upcoming and current trends to increase financial returns.[41] This period of history in Japanese cinema has been described by film journalist Tom Mes as "a far more diverse and vibrant film scene [than previous eras]".[40] By 1995, the V-cinema industry was in decline,[39] but the explosion in quantity and variety of such movies established and cemented genres like J-horror and yakuza films.[41]

The success of OVAs and V-Cinema has resulted in less stigma regarding direct-to-video releases in Japan than in western markets.[2] While there are still OVA and V-Cinema releases, the market is considerably smaller than it was in the 1980s and 1990s.[citation needed]

I am getting charged for the PPV movies when I delete and don't watch. This is so frustrating because I don't request the movie and sometimes they will record when no one is home. I called customer service and she said she could only remove one from my bill out of 11 movies that were recorded and not watched. I've tried to reset my channel controls and min amount charges but it has not worked. The movies continue to download and I get charged. e24fc04721