AMC’s Shudder Takes U.S., U.K. Rights on Six FrightFest Titles

AMC’s Shudder Takes U.S., U.K. Rights
Courtesy of Shudder

Six upcoming horror titles have been acquired for a mix of North American and U.K. rights by Shudder, the horror SVOD service run by AMC Networks, it announced Monday. The acquisition comes ahead of the U.K.’s FrightFest horror festival, which runs Aug. 24-28, and will see all six features make their U.K. premieres.

The acquisition includes all rights in North America, U.K. and Ireland for surreal U.S. sci-fi romance “Sequence Break” (pictured), from director Graham Skipper, as well as Austrian director Stefan Ruzowitzky’s “Cold Hell.”

Shudder has taken streaming rights in North America and Canada to Chris Peckover’s Christmas-themed title “Better Watch Out,” starring Virginia Madsen, which Universal is scheduled to release theatrically in Britain on Dec. 8.

The service has added all rights for U.K. and Ireland to the U.S. streaming rights it acquired during the Cannes Film Festival in May for Joe Lynch’s “Mayhem,” which stars “The Walking Dead’s” Steven Yeun.

Shudder has acquired all U.K. rights on Canadian director Colin Minihan’s “It Stains the Sands Red” and Brandon Christianson’s “Still/Born,” which is co-written and produced by Minihan. It has also taken U.S. streaming rights on “Still/Born.”

All six titles will be available to stream on Shudder in early 2018.

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  1. Jon says:

    Now that film festivals are increasingly becoming little more than short window advertisements for movies already bought up for dumping/burial on streaming services — and therefore in no need of the word-of-mouth or reviews — what’s the point of paying premium ticket prices for something about which your opinion as a either casual movie fan or amateur or professional reviewer makes no difference whatsoever because it’s already earmarked for, in essence, home video, and on services where it won’t even need to prove its mettle? There’s not even the pretense that a picture — especially a genre picture — MIGHT get a limited theatrical release, which fests could at one time justify to draw in the rubes.

    In the very near future, filmmakers will likely just forego the fest experience altogether and just pitch their shows directly to the streamers. Fests and their programmers face becoming irrelevant middle men in the video-store-clerk mode unless they’re able to book ONLY movies with no studios/streamers attached yet. And even then, guess which side will be scooping most of them up?

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