Ster-Kinekor has announced it will install D-BOX, an immersive motion cinema seating technology, at four theatres in Johannesburg (The Zone Rosebank and Mall of Africa), Cape Town (Cavendish Square), and Durban (Gateway Shopping Mall). Each theatre will be equipped with 50 D-BOX seats, among the regular seating.
This will cater to a growing number of moviegoers who are looking for cutting-edge, premium entertainment experiences.
D-BOX is changing the movie experience through the power of motion. Using precision and hyper-realistic vibrations, D-BOX delivers a new level of immersive entertainment that connects viewers to the movie like never before. Because they control the intensity, they can move with the movie and feel every scene as if they were in it. This creates highly believable, one-of-a-kind movie-watching experiences .
“We make every effort to offer our customers new ways to watch movies and keep giving them reasons to visit our cinemas,” says Wanda Matandela, CEO of Ster-Kinekor Theatres. “We’ve had great success in the past with IMAX and Cine Prestige. D-BOX is the next logical step in our evolution because their technology and expertise fit perfectly into our overall vision of pushing boundaries to give our customers innovative and unparalleled premium experiences.”
Motheo Matsau, Chief Sales and Marketing Officer at Ster-Kinekor Theatres, says: “As technology changes the world, we are keeping abreast of global cinema innovations with D-BOX. We are committed to our customers and delivering the latest technology to enhance their movie experience by providing a feast for the senses.”
The first D-BOX-equipped auditorium to open will be at Mall of Africa. This innovative cinema viewing technology will launch in South Africa on 23 November with the release of Justice League.
The idea is that viewers will feel like superheroes and part of the film. Based on the DC Comics title, the movie sees Batman and Wonder Woman assemble a team consisting of Flash, Aquaman, and Cyborg to face the catastrophic threat of Steppenwolf and his army of Parademons. The cast includes Ben Affleck, Henry Cavill, Amy Adams, Gal Gadot, Ezra Miller, Jason Momoa, Ray Fisher, Jeremy Irons, Diane Lane, Connie Nielsen, and J. K. Simmons.
The other D-BOX equipped cinemas will open in short succession after this and also screen Justice League. A D-BOX release also awaits Coco, a Pixar and Disney computer-animated musical fantasy film based on the Mexican Day of the Dead that will release on 24 November; and Star Wars, The Last Jedi. Ster-Kinekor will be hosting pre-release screenings on all screens (IMAX & Ster-Kinekor screens) at 8pm on Thursday, 14 December. The film will be officially released on 15 December 2017.
Solo movie finds its feet
Overall, Solo: A Star Wars Story is a great film if you know enough about the Star Wars universe and not so much if you’re not well acquainted with it, making it one of the less successful additions to the franchise, writes BRYAN TURNER.
Solo: A Star Wars Story is the most enjoyable Star Wars prequels yet. The film starts in the time when Han Solo (Alden Ehrenreich) lived in Corellia with one of the Star Wars universe’s newest characters, Qi’Ra (Emilia Clarke): she is introduced kissing Han in the first few minutes of the film. The film starts with some jokes that don’t land too well, but it quickly finds its feet in the first 10 minutes or so.
There has been some online skepticism about whether Ehrenreich could fill Harrison Ford’s Han Solo boots. He did an amazing job. The way Ehrenreich holds himself, the way he speaks, and his general character, is a perfect representation of how Solo should be: young, full of life, and hungry for justice. Solo explains how Han gets to become one of the best pilots in the universe, despite all the challenges he faces.
It’s a great struggle story of a nobody from Corellia finding his way in the Star Wars universe. That being said, the movie has a lot more to it than just Han finding his way.
The tale begins when Han and Qi’Ra get separated, forcing him to pursue his dream of becoming a pilot alone. He is quickly led into the pits of battle, where he meets bandits and a 196-year-old (!) Wookie named Chewbacca (Joonas Suotamo). He makes friends with the bandits and his new Wookie friend to become an intergalactic looter of a rare and expensive power source, coaxium. Along the way, Han needs help from Dryden Vos (Paul Bettany) and Lando Calrissian (Donald Glover).
Qi’Ra’s initial appearance in Solo asserts her as one of the strongest female leads since Princess Leia. Her strong screen presence leaves one hanging onto her every word, especially when she appears later in the film. In her time alone away from Han, she mentions she learned a bit of Teras Kasi, one of the strongest form of hand-to-hand combat in the Star Wars universe.
The great thing about this moment is that Teras Kasi has never been mentioned in any Star Wars film and was only referenced a few times in the 1997 PlayStation 1 game, Star Wars: Masters of Teras Kasi. This is one of the greatest, and most under-appreciated, Star Wars tie-in moments in the film.
Lando Calrissian (Donald Glover) pushes the limits of defining relationships in the Star Wars universe by having a love interest in a robot, L3-37, played by Phoebe Waller-Bridge. Solo’s writers have revealed (in a Huffington Post interview) that Lando’s character is pansexual, which can be noted from Lando flirting with anyone (and anything, if we’re not calling robots people) he meets.
This is an extremely progressive move from the Star Wars writers, creatively expressing what is essentially a LGBT character in a science fiction universe.
Overall, this Star Wars story is brilliant if you know enough about the Star Wars universe and less than brilliant if you’re not well acquainted with it. That being said, the box office force wasn’t exactly with Solo, which may be a sign of prequel fatigue.
What should be next to save the Star Wars universe? Proper cool-off time before creating more Star Wars films, as we’ve seen one a year since 2015.
VoD cuts the cord in SA
Some 20% of South Africans who sign up for a subscription video on demand (SVOD) service such as Netflix or Showmax do so with the intention of cancelling their pay television subscription.
That’s according to GfK’s international ViewScape survey*, which this year covers Africa (South Africa, Kenya and Nigeria) for the first time.
The study—which surveyed 1,250 people representative of urban South African adults with Internet access—shows that 90% of the country’s online adults today use at least one online video service and that just over half are paying to view digital online content. The average user spends around 7 hours and two minutes a day consuming video content, with broadcast television accounting for just 42% of the time South Africans spend in front of a screen.
Consumers in South Africa spend nearly as much of their daily viewing time – 39% of the total – watching free digital video sources such as YouTube and Facebook as they do on linear television. People aged 18 to 24 years spend more than eight hours a day watching video content as they tend to spend more time with free digital video than people above their age.
Says Benjamin Ballensiefen, managing director for Sub Sahara Africa at GfK: “The media industry is experiencing a revolution as digital platforms transform viewers’ video consumption behaviour. The GfK ViewScape study is one of the first to not only examine broadcast television consumption in Kenya, Nigeria and South Africa, but also to quantify how linear and online forms of content distribution fit together in the dynamic world of video consumption.”
The study finds that just over a third of South African adults are using streaming video on demand (SVOD) services, with only 16% of SVOD users subscribing to multiple services. Around 23% use per-pay-view platforms such as DSTV Box Office, while about 10% download pirated content from the Internet. Around 82% still sometimes watch content on disc-based media.
“Linear and non-linear television both play significant roles in South Africa’s video landscape, though disruption from digital players poses a growing threat to the incumbents,” says Molemo Moahloli, general manager for media research & regional business development at GfK Sub Sahara Africa. “Among most demographics, usage of paid online content is incremental to consumption of linear television, but there are signs that younger consumers are beginning to substitute SVOD for pay-television subscriptions.”