Digital video: renting vs buying, and why Apple is best for buying

With news that iTunes’ share of video sales and rentals are falling against competitors such as Amazon (Prime) Video and other services, I’d like to take a moment to reflect on why iTunes is the better platform for buying movies digitally, despite my brain screaming at me, “Look what happened to the digital BBC Store.”

iTunes offers iTunes Extras of which an increasing number of titles are including the same features as physical media.  Audio commentaries are regularly included, for example.  No other service offers this.

iTunes has one of the best device allowances of any service – and this includes the ability to download the content to a Mac, Windows PC, iPad and/or iPhone.

The UI of iTunes is much better than that of the competitors.  The Apple TV, not so much, but still considerably better than most.  Therefore it’s easier to manage existing titles.  And in all the years I’ve been buying movies from iTunes, I’ve never lost a single title due to film studios deciding to withdraw from the platform.  This could change, of course, but I’m sure if that happened, consumers would be lining up to lynch whoever decided it was a good idea to do so.

In terms of renting, Amazon (Prime) Video very narrowly outshines iTunes. There’s almost always a promotion which allows me to pay far less for renting an HD title via Amazon (Prime) Video than iTunes.  For example, I’ve just rented Hidden Figures (*superb* film) and T2: Trainspotting (also very good) – both in HD – £2.49 for both titles.  Amazon Video is baked into my LG television, making it very easy to access.

Don’t get me started on the UltraViolet digital platform.  It’s a completely useless pile of sputum devised by the film studios to make them look kind and generous by providing a non-physical digital copy of a film.  The truth is that it’s a massive pain in the arse to manage and I don’t bother with it anymore.   TalkTalk’s app (TalkTalk having bought Blinkbox which in turn is an UltraViolet partner) for LG televisions is awful.  I accept that one has to log in again occasionally, but the process is just stupid.  Look at what Google is doing for logging in to YouTube – much, much easier for televisions.  Entering a password via a remote control is the epitome of piss-poor user interface design.  But TalkTalk isn’t the only one guilty of this crime (NOW TV, Amazon, and even Netflix are guilty – but their TV apps allow for significantly long log in times).

BTW, I also hate the Amazon Prime Video UI too – it makes discovery difficult and it seems so random that I rarely watch anything on the service other than the really big TV productions.  I watched the German comedy, Toni Erdmann the other day (very, very funny – especially the nude party scene), but I had to manually enable the subtitles (found under CC for closed captioning – usually referencing subtitles for the hard of hearing – in my case, hard of not knowing enough German to understand the film without English subtitles).

The only other service I’ve purchased films from is Google Play.  I can watch the films on a tablet, my phone and even my TV through the YouTube app.  But those titles are generally either freebies or were heavily discounted.

Otherwise, I’ll be sticking with iTunes for future film purchases.  The next one, in fact, will probably be Hidden Figures because it was just such a great film, and there’s an audio commentary included in iTunes Extras which should give the film even more value.

BBC’s digital store to close in November

My biggest fear with buying digital only copies of films and television shows is if the provider goes away – whether it’s due to bankruptcy, change of direction – whatever.  As I’ve been sticking with the iTunes ecosystem for the majority of the time, I trust Apple to do the right thing and ensure I am able to download and watch my movies regardless of whatever happens to the movie or TV studio that supplied them with the content.  So far so good.

But, alas, the poor old BBC has announced that it’ll be shutting down its all digital BBC Store from 1st November 2017.  I’ve used BBC Store a number of times over the past 18 months, amassing a few titles here and there.  It was relatively cheap, and they often had many titles on sale.  My biggest complaint with the BBC Store, however, is actually watching the titles on my TV.  What a pain in the arse that was.  The BBC iPlayer baked into my LG TV, Apple TV, plus the games consoles I used to have, never supported BBC Store titles.  And there was no native BBC Store app for them either.  Thus I had to buy a Google Chromecast to be able to cast the content from my mobile phone to it.  No problem watching the content on my phone or tablet, but it’s not ideal – and this is why I think the BBC has failed – it felt as if it didn’t put enough resources into developing the BBC iPlayer integration or BBC Store apps across multiple platforms.

(Ironically, as the mega corporate AT&T is set to buy Time Warner, Inc. and take over HBO – AT&T’s boss has been semi-joking that he wants to provide 20 minute mobile friendly episodes of Game of Thrones – this sort of thing horrifies me – I’m all about choice, but the important thing is that television is television and should be viewed as (and on) such)

Another problem with BBC Store is that many of BBC’s titles are available on the likes of Netflix and Amazon Prime.  The BBC has said that it wasn’t able to compete with these services, but I still say they just did not put enough effort or resources into making the content available across platforms as easily as Netflix or Amazon Prime (which, BTW, should be coming to Apple TV next month if rumours are true).

Ultimately it’s a slap in the face for digital TV and movie consumption.  But I also ask: is TV and film going the same way as music?  Do people actually prefer to pay a monthly subscription fee to consume as much content as possible, rather than simply buy a title outright?   While the BBC is refunding those of us for the content we’ve paid for (plus, very ironically, a £20 Amazon voucher for similar digital content), it doesn’t make it easy for us to be able to repurchase the content elsewhere.  With content providers bemoaning that piracy is ruining the entertainment industry – it forgets very easily that if more effort was made to make the content available quickly and cheaply, and across as many platforms as possible, their rhetoric might be a bit more believable!

I. AM. (G)ROOT!

In lieu of a lunch date last week (unfortunately my companion was not able to make it), I took myself to the cinema.  Despite not getting much use of the Odeon Limitless pass last year, I’ve nevertheless decided to renew (albeit paying monthly rather than one lump sum) as even if I can try to aim for two movies a month, it’s still ever so slightly cheaper than the full ticket price.

So I went and saw James Gunn’s Guardian of the Galaxy, Vol 2,  and I have to say I’ve never had such a great time at the cinema watching a movie.  It is a FUN film.   A fun, fun, film.  It never takes itself too seriously for the most part, but for even for the hardest of hearts, you’ll be shedding a tear by the end.  I have never laughed so hard at any film before – and the audience loved it too.  The gang are back – Star Lord, Gamora, Drax, Baby Groot and Rocket Racoon – but this time they’re joined by Yondu and Mantis.   I’ll say nothing of the plot, other than it essentially picks up from the first film and explores Star Lord’s paternity.  The film is peppered throughout with a stonking soundtrack, picked out by Gunn himself, and the use of John Lennon’s Oh My Lord and Cat Steven’s Father & Son is just beautiful – as is the opening titles featuring ELO’s Mr. Blue Sky.  You’ll be wanting to download the full playlist from Apple Music (or Spotify) afterwards and play it over and over again.  A soundtrack selection like this hasn’t been this good since Harold & Maude (which made very heavy use of Cat Steven’s repertoire) – and of course the original Guardians of the Galaxy, Vol 1.  James Gunn has said on social media that he’s aware of, and is trying to get UHD release of GotG Vol 2 – if so, this would mark the first Marvel Studios film to get one, and given how colourful and epic the cinematography is in this film – would be the right way to view the film at home.

Almost immediately afterwards I went and saw Alien: Covenant (or as my autocorrect likes to call it, Alien: Convenient!).  I know a lot of people didn’t enjoy Prometheus, but I liked it.  It’s nice to try and provide a back story to the origins of everything that’s happened up until the original 1979 Alien, and Alien: Covenant takes that further – but tries to get back to its horror roots.  We have chestbursters, backbusters, vomitbursters and all sorts in this one.  There are some very effective scares brought on by a wonderful sound mix.  I’m not a person to jump out my skin easily, but there were at least two points in the film I did so (as I’m sure did the audience, when they weren’t playing with their bloody mobile phones) – mainly due to the sound design.  If this film is going to win anything, it’ll be for sound design and VFX (by my former employers, MPC, of course).  Alien: Covenant is an intriguing film – and if you’re a fan of the original Alien I’d recommend it.  It doesn’t quite have the same impact (when you seen one chestbuster, you’ve seen them all), and the characters are definitely not the sharpest tools in the box.  But it makes for an entertaining 2 hours romping through the mythology of Alien and preparing us for the third and final prequel in the trilogy.  As a side note – it’s interesting that this film has been rated 15.  It features a fair amount of gore – but I suspect as technology has improved, audiences have become wiser to how things work and these things are just not as shocking or as bad as they seem back in the olden days of filmmaking.

On the home entertainment front, I watched A Monster Calls on iTunes.  It is a magnificent effort in storytelling – simply a beautiful, wonderful film.  Essentially it tells of a young boy who is being bullied at school and is being raised by his mother, who is dying of terminal cancer, summoning a monster – a walking and talking yew tree that comes to life.  The monster tells the boy that he will tell him three tales, but the boy must tell the monster a fourth tale, which is the nightmare the boy has been suffering from each night.  That nightmare is of a church and graveyard falling into a massive hole, with his mother holding on to her son for dear life.  This is, of course, a symbolism of the boy losing his mother to cancer.   A Monster Calls treats the subject matter very well indeed: how do you cope with the forthcoming loss of your mother?  It made me appreciate the 24 years I had with my mum before she passed away back in 2000.  It was maybe because of this that I cried – hard – throughout the film.

A Monster Calls treats the subject matter sensitively, and is well handled: how do you cope with the forthcoming loss of your mother?  It made me appreciate the 24 years I had with my mum before she passed away back in 2000.  It was maybe because of this that I cried – hard – throughout the film.  It brought up memories, and that as my mum started become ill and weaker, that I had to prepare for the inevitable.  That sort of thing was very hard – and the film serves as a reminder for that.

The tales that the monster (which is voiced and whose motion capture performance is by Liam Neeson) tells the boy are beautiful animations that resemble watercolours – traditional fairytales but with a bit of twist to them – and that forms a relevance in the boy’s life.  A Monster Calls combines fantasy and realism in such a natural manner that even you’ll forget what’s real and what’s not.  A beautiful film that deserves all the praise it can get.

And finally on to Passengers.  I had heard a lot about this film (none of it good).  But I very much enjoyed it.  It provides us with a big dilemma – if you were on a long voyage in which you had to be put into hibernation, but the system fails halfway until you get there, and you can’t go back under – what do you do?  You have to live the rest of your life on the ship.   This is the dilemma faced by Jim Preston, a passenger on the Avalon on the route to a new homeworld.  He’s woken up 90 years too early by a fault in his hibernation pod.  He’s the only human being around – the ship is fully automated (but due to damage caused by a meteor storm, various parts of the ship start to fall to bits).  His only companions are an android bartender (played by Martin Sheen), and the restaurant robots.  As he’s an engineer, he tries to figure out his situation – and tries to wake up the crew, but is prevented from doing so due to security barriers. After wondering through the hibernation bays (there are some 5,000 passengers in total) he comes across Aurora, a beautiful young woman.  He starts to think.  He’s all alone.  But if he was to wake somebody, it would essentially be condemning them to death – they wouldn’t reach their destination alive, and going back to Earth would result in the same fate.   I won’t go any further into the plot – but needless to say, it becomes a bit of a rollercoaster ride from that point onwards.  It’s a bit like Titanic in Space meets Pixar’s Wall-E (ironically Wall-E’s composer, Thomas Newman, also scores this film).  Enjoyable film.

Back from Edinburgh

My destination directly after my little London trip was to the capital city of Scotland, Edinburgh.  I fell in love with the place last year when cPanel were hosting a one day conference.  I extended the stay for 4 days, but it wasn’t enough to explore the city.  This time I had 9 days, and let me tell you, I saw (and drank) a lot.

The next few posts will recount my Scottish adventures, but let me just say that during my time in Edinburgh I was a tad annoyed at Disney/Marvel’s presence in shooting Avengers: Infinity War in the city which meant that tours (or anything) involving the Royal Mile was interrupted throughout that time.  And on my way home that also meant Waverley train station.

I suspect in order to qualify for the British film tax credit (read: free taxpayer money) which requires productions to pass a British cultural test (how the other Marvel films passed I just don’t know), I like to think the Avengers were fighting giant space haggises. Given how terrible Marvel has shoehorned British locations to get their tax credits, I reckon for the next Marvel film it’ll probably be shot in Blackpool where Captain America wears a knotted handkerchief, Thor judges a knobbly knee competition, and the Hulk becomes a ballroom dancing champion…

Flashbacks to my time in VFX came flooding back to me.. Hope Marvel’s Avengers enjoyed a nice cup of coffee while saving the universe from mutant space haggises.
Marvel was in town for over THREE weeks…
.. which meant that the section they closed involved a LOT of steps or significant detours up and down hills to get around them..

I’ll be talking more about various movies in the coming posts – particularly Skyfall, Harry Potter (I went to Hogwarts – but not the version I worked on), Downton Abbey and Angel’s Share (a Ken Loach film).

Movie review: Sully

Format: iTunes HD with iTunes Extras + Apple TV 4th Gen
Extras: Featurettes (~45 mins in total)

I’m no fan of flying, but I have to admit that 2009 emergency landing of United Airlines flight 1549 into the Hudson river was one of the most spectacular and miraculous stories to come out of aviation history.  It made you appreciate how much experience some pilots have, and their ability to make lifesaving decisions so quickly is just extraordinary.

This is the story of that incident, but in particular, it is the story of Captain Sullenberger and the subsequent NTSB investigation into how Sully and his co-pilot handled the situation.  This movie was a long time coming,  and it’s pretty decent.

Tom Hanks plays Captain “Sully” Sullenberger – a man with over 40 years flying experience.  Starting from flying a crop duster plane, to flying military aircraft, to a commercial airline pilot, Sully has spent a great deal of time in the air.  And he also ran his own air incident investigations too.

We get to see a recreation of the disaster (a bird strike which took out BOTH engines) with visual effects supplied by my former employers, MPC.  Unfortunately, I felt that MPC’s efforts weren’t up to their usual high standards – the aircraft model and environment felt far too much like Microsoft’s Flight Simulator.  That said, I will give MPC credit where it’s due to the actual recreation of the rescue in the Hudson river.  The invisible effects are better than the in-your-face effects.

Clint Eastwood – for it is he – directs well enough.  The performance from Tom Hanks and the rest of the cast is very good, though I did feel it was a little forced in some areas – that is to say, it feels a little too over melodramatic.  Sully feels a bit like a Movie of the Week rather than something that’s more solid. Nevertheless, you felt like cheering during the NTSB hearing in which Sully calmly takes down the investigators’ flight simulations – proving they were completely flawed.

All in all, Sully is a good 90-minute insight into what happened that fateful day.  A little overplayed, maybe, but still entertaining.