×
You will be redirected back to your article in seconds

‘Alien: Covenant’ Sets June Release Date in China

The Ridley Scott-directed “Alien: Covenant” has secured a theatrical release in China.

The space horror picture will hit mainland Chinese theaters on June 16. That is a full month after its international rollout  begins this week and nearly a month after its May 19 outing in North America.

A video message from Scott was posted on Chinese social media networks today. And a spokesman for Twentieth Century Fox in Beijing gave Variety emailed confirmation of the film’s release date. But the spokesman would not give any detail as to how the film’s high level of graphic horror content would be treated.

It is not clear whether the film will suffer as a result of cuts demanded by censors, or whether a release was made more possible by the introduction of a new law.

China has no ratings or classification system and all films released in China are in theory cleared for screening to audiences of all ages – or rejected outright. (Fox’s “Deadpool” last year failed to secure a China release.)

However, the newly introduced Film Promotion Law introduces warnings that need to be used on marketing materials, when the censors deem it necessary. Another Fox film, “Logan” was the first movie to be directly affected by the new law, and was released with the warning notices. Censors also ordered some 14 minutes of cuts to “Logan.”

Chinese regulators have long found graphic sex, extreme violence, politics, religion, superstition and horror to be taboo subjects. Chinese film makers are slowly grappling with the horror genre and trying to push the boundaries, but the results are mostly mild compared with some western movies.

Indeed the boundaries of Chinese censorship are always blurred and often moving. While homosexuality is often a no-go area as far as China’s censors are concerned, gay-themed “Moonlight” was allowed to play at the recent Beijing film festival and has been acquired for online distribution by iQIYI.  Similarly, Chinese regulators also openly boasted that they had no problem with the same sex insinuations of “Beauty and The Beast,” while regulators in other conservative jurisdictions found it problematic.

More Film

  • Atlantics

    Netflix Snags Worldwide Rights to Cannes Winners 'Atlantics,' 'I Lost My Body'

    Mati Diop’s feature directorial debut “Atlantics” and Jérémy Clapin’s animated favorite “I Lost My Body” have both been acquired by Netflix following wins at Cannes Film Festival. “Atlantics” was awarded the grand prix while “I Lost My Body” was voted the best film at the independent International Critics Week. The deals are for worldwide rights [...]

  • Stan Lee, left, and Keya Morgan

    Stan Lee's Former Business Manager Arrested on Elder Abuse Charges

    Stan Lee’s former business manager, Keya Morgan, was arrested in Arizona Saturday morning on an outstanding warrant from the Los Angeles Police Department. The LAPD’s Mike Lopez confirmed that the arrest warrant was for the following charges: one count of false imprisonment – elder adult; three counts of grand theft from elder or dependent adult, [...]

  • Moby attends the LA premiere of

    Moby Apologizes to Natalie Portman Over Book Controversy

    Moby has issued an apology of sorts after writing in his recently published memoir “Then It Fell Apart” that he dated Natalie Portman when she was 20 — a claim the actress refuted. “As some time has passed I’ve realized that many of the criticisms leveled at me regarding my inclusion of Natalie in Then [...]

  • Bong Joon-ho reacts after winning the

    Bong Joon-ho's 'Parasite' Wins the Palme d'Or at Cannes

    CANNES — The 72nd edition of the Cannes Film Festival wrapped with jury president Alejandro González Iñárritu announcing the group’s unanimous decision to award the Palme d’Or to South Korean director Bong Joon-ho for his sly, politically charged “Parasite.” Following last year’s win for humanistic Japanese drama “Shoplifters,” the well-reviewed Asian thriller represents the yin [...]

  • Invisible Life Brazilian Cinema

    Cannes Film Review: 'The Invisible Life of Eurídice Gusmão'

    A “tropical melodrama” is how the marketing materials bill “The Invisible Life of Eurídice Gusmão.” If that sounds about the most high-camp subgenre ever devised, Karim Aïnouz’s ravishing period saga lives up to the description — high emotion articulated with utmost sincerity and heady stylistic excess, all in the perspiring environs of midcentury Rio de [...]

  • Best Movies of Cannes 2019

    The 10 Best Movies of Cannes 2019

    The Cannes Film Festival is too rich an event to truly have an “off” year, but by the end of the 72nd edition, it was more or less universally acknowledged that the festival had regained a full-on, holy-moutaintop-of-art luster that was a bit lacking the year before. It helps, of course, to have headline-making movies [...]

  • Aladdin

    'Aladdin' Soaring to $100 Million-Plus Memorial Day Weekend Debut

    Disney’s live-action “Aladdin” remake is on its way to a commendable Memorial Day weekend debut with an estimated $109 million over the four-day period. The musical fantasy starring Will Smith and Mena Massoud should uncover about $87 million in its first three days from 4,476 North American theaters after taking in $31 million on Friday. [...]

More From Our Brands

Access exclusive content