By MCN Editor editor@moviecitynews.com

WARNER BROS. HOME ENTERTAINMENT GROUP TO ACQUIRE FLIXSTER, ROTTEN TOMATOES

Posted Wednesday, May 4th, 2011 - 1 Comment »
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COMPANY WILL CONTINUE TO OPERATE INDEPENDENTLY AND SERVE AS CONSUMER-FACING PLATFORM FOR WARNER BROS.’ INITIATIVES TO DRIVE DIGITAL CONTENT OWNERSHIP

ACQUISITION INCLUDES POPULAR “ROTTEN TOMATOES” MOVIE REVIEW SITE

BURBANK, Calif., May 4, 2011 – Warner Bros. Home Entertainment Group today announced an agreement to acquire Flixster, a highly popular movie discovery application company with over 25 million worldwide users per month. The acquisition also includes Rotten Tomatoes, a top website devoted to film reviews, information and news. Under the terms of the deal, Flixster will continue to operate independently and will expand its services beyond movie discovery to enable digital content ownership and delivery across any connected digital device.

Warner Bros. Home Entertainment Group will utilize the powerful Flixster brand and technical expertise to launch a number of initiatives designed to grow digital content ownership, including the recently announced consumer application “Digital Everywhere.” This studio-agnostic application will be the ultimate destination for consumers to organize and access their entire digital library from anywhere on the device of their choice, as well as to share recommendations and discover new content. The Flixster acquisition and “Digital Everywhere,” combined with the Studio’s support of the UltraViolet format are all part of an overall strategy to give consumers even more freedom, utility and value for their digital purchases.

“Driving the growth of digital ownership is a central, strategic focus for Warner Bros.,” said Kevin Tsujihara, President, Warner Bros. Home Entertainment Group and Office of the President, Warner Bros. Entertainment. “The acquisition of Flixster will allow us to advance that strategy and promote initiatives that will help grow digital ownership.”

Flixster is currently the number one movie discovery application on mobile platforms with over 35 million downloads to date, including Android, Blackberry and iPad, and ranks among the most downloaded of all iPhone apps. Rotten Tomatoes is one of the most trusted and influential brands in movie reviews with over 12 million unique visitors per month. Flixster and Rotten Tomatoes will remain fully independent. The Flixster team will stay in San Francisco and the Rotten Tomatoes team will continue to work autonomously in Los Angeles.

“We’re thrilled that Warner Bros. Home Entertainment Group shares our vision for how ‘anytime, anywhere’ digital entertainment can become an amazing user experience,” said Joe Greenstein, co-founder and CEO of Flixster. “We’re excited that Warner was willing to make this kind of commitment to a leading independent consumer platform. We look forward to working with Warner as well as each of the other studios to innovate and build products that users will love.”

Warner Bros. Home Entertainment Group has been the consistent change leader in the home entertainment arena. It is a founding member of the Digital Entertainment Content Ecosystem (DECE), which is launching UltraViolet™ this year. UltraViolet will provide cloud-based storage and give consumers the ability to watch digital entertainment across multiple platforms such as connected TVs, PCs, game consoles and smartphones. And as the market leader in video-on-demand and electronic sell-through, Warner Bros. Home Entertainment Group recently became the first studio to distribute films directly to consumers via apps on Apple’s iOS platform and Facebook.

About Warner Bros. Home Entertainment Group
Warner Bros. Home Entertainment Group (WBHEG) brings together Warner Bros. Entertainment’s home video, digital distribution, interactive entertainment, technical operations and anti-piracy businesses in order to maximize current and next-generation distribution scenarios. An industry leader since its inception, WBHEG oversees the global distribution of content through packaged goods (Blu-ray Disc and DVD) and digital media in the form of electronic sell-through and video-on-demand via cable, satellite, online and mobile channels, and is a significant developer and publisher for console and online video game titles worldwide. WBHEG distributes its product through third party retail partners and licensees, as well as directly to consumers through WBShop.com.

About Flixster
Founded in 2006 and based in San Francisco, Flixster Inc. operates the world’s most popular movie communities, used by more than 25 million people every month. Flixster services include destination websites at Flixster.com and RottenTomatoes.com, as well as leading apps on Facebook, MySpace, iGoogle, iPhone, BlackBerry and Android-powered devices. Flixster’s communities provide the most comprehensive movie information online – including a database of over 250,000 movies; 2.3 billion user reviews; 500,000 critic reviews; and over 35,000 trailers and videos. Flixster has offices in New York and representatives in Los Angeles and Seattle.

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One Response to “WARNER BROS. HOME ENTERTAINMENT GROUP TO ACQUIRE FLIXSTER, ROTTEN TOMATOES”

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon