The Best DVD and Blu-Ray Releases Of 2012

Best DVD Blu of 2012

JANUARY

Project Nim (Icon Home Entertainment) [Read our full review] [Buy it on DVD]
In a Better World (Axiom) [Buy it on DVD or Blu-ray]
Boardwalk Empire – Season 1 (Warner Home Video/HBO) [Buy on DVD or Blu-ray]
Melancholia (Artificial Eye) [Read our full review] [Buy it on Blu-ray or DVD]
Roger Dodger (StudioCanal) [Buy it on Blu-ray or DVD]
Tinker, Tailor, Soldier, Spy (StudioCanal)  [Read our full review] [Buy it on Blu-ray or DVD]
Drive (Icon Home Entertainment) [Read our full review] [Buy it on Blu-ray or DVD]
The Tin Drum (Arrow) [Buy the dual format Blu-ray and DVD edition]

FEBRUARY

Tyrannosaur (Studiocanal) [Buy on DVD or Blu-ray] [Read our original review]
Tabloid (Dogwoof) [Buy on DVD] [Read our original review]
All Quiet On the Western Front (Universal Pictures) [Buy it on Blu-ray]
To Kill a Mockingbird (Universal Pictures) [Buy it on Blu-ray]
Repo Man (Eureka/Masters of Cinema) [Buy the Blu-ray from Amazon UK]
The Conformist (Arrow Video) [Buy the Dual Format DVD/Blu-ray from Amazon UK]
We Need to Talk About Kevin (Artificial Eye) [Buy the Blu-ray or DVD from Amazon UK] [Read our full review]
The Mizoguchi Collection (Artificial Eye) [Buy it on Blu-ray or DVD box set]

MARCH

The Ides of March (Entertainment One) [Read our full review here] [Buy on Blu-ray or DVD from Amazon UK]
Contagion (Warner Home Video) [Buy on Blu-ray or DVD from Amazon UK]
Anonymous (Sony Pictures Home Entertainment) [Read our full review here] [Buy on Blu-ray or DVD from Amazon UK]
Jane Eyre (Universal Pictures) [Buy it on Blu-ray + DVD & Digital Copy] [Read our full review here]
Rabbit Proof Fence (Optimum Home Enterainment) [Buy the Blu-ray or DVD from Amazon UK]
Monty Python and the Holy Grail (Sony Pictures Home Entertainment) [Buy the Blu-ray or DVD from Amazon UK]
Naqoyqatsi (Miramax) [Buy on DVD or Blu-ray from Amazon UK]
Moneyball (Sony Pictures Home Ent.) [Available on Blu-ray or DVD from Amazon] [Read our full review here]
Take Shelter (Universal Pictures)

APRIL

The Girl With the Dragon Tattoo (Sony Pictures Home Ent.)
Dracula (Universal) [Buy the Blu-ray]
Hugo (EIV) [Read our full review] [Buy it on DVD or Blu-ray]
La Grande Illusion
 (StudioCanal) [Buy the DVD or Blu-ray]
Bad Lieutenant (Fabulous Films) [Buy on DVD or Blu-ray from Amazon UK]

MAY

The Story of Film (Network) [Buy at Amazon]
Falstaff: Chimes at Midnight (Mr. Bongo) [Buy at Amazon]
Into the Abyss (Revolver)
The Jazz Baroness (3DD)
Treme: Season 2 (Warner Bros.)
Shame (Momentum) [Buy at Amazon]
Martha Marcy May Marlene (Fox)
The Artist (EV) [Buy at Amazon]

JUNE

Blue Velvet (Universal) [Buy at Amazon]
Lost Highway (Universal) [Buy at Amazon]
Odd Man Out (Network) [Buy at Amazon]

JULY

Chariots of Fire (Fox)
The Discreet Charm of the Bourgeoisie (StudioCanal) [Buy at Amazon]
Total Recall (Optimum Home Entertainment)
A Fish Called Wanda (MGM Home Entertainment) [Buy at Amazon]

AUGUST

Le Harve (Artificial Eye) [Buy at Amazon]
The Descendants (Fox) [Buy at Amazon]
Marley (Universal) [Buy at Amazon]
Rumble Fish (Eureka)

SEPTEMBER

Jaws (Universal) [Buy at Amazon]
Les Enfants Du Paradis (Second Sight) [Buy at Amazon]
All Quiet On The Western Front (Universal) [Buy at Amazon]
James Bond: Bond 50 (Fox) [Buy at Amazon]
To Catch a Thief (Paramount) [Buy at Amazon]
That Obscure Object of Desire (StudioCanal) [Buy at Amazon]
The Trial (StudioCanal) [Buy at Amazon]
The Turin Horse (Artificial Eye)

OCTOBER

Lawrence of Arabia (Sony) [Buy at Amazon]
Walkabout (Universal) [Buy at Amazon]
Dracula (Universal) [Buy at Amazon]
Frankenstein (Universal) [Buy at Amazon]
The Wolf Man (Universal) [Buy at Amazon]
Ai Weiwei – Never Sorry (Artificial Eye)
Indiana Jones: The Complete Collection (Paramount) [Buy at Amazon]
Shut Up and Play the Hits (Pulse Films) [Buy at Amazon]
The Curse of Frankenstein (Lionsgate UK) [Buy at Amazon]
Woody Allen: A Documentary (Soda Pictures) [Buy at Amazon]
ET – The Extra Terrestrial (Universal) [Buy at Amazon]
Glengarry Glen Ross (ITV DVD)
Nostalgia for the Light (New Wave Films) [Buy at Amazon]
The Company of Wolves (ITV DVD) [Buy at Amazon]
The Shawshank Redemption (ITV DVD) [Buy at Amazon]
Homeland: Season 1 (Fox) [Buy at Amazon]

NOVEMBER

Citizen Kane (Universal) [Buy at Amazon]
Groundhog Day (Sony) [Buy at Amazon]
Alfred Hitchcock: The Masterpiece Collection (Universal) [Buy at Amazon]
Margin Call (Paramount) [Buy at Amazon]
The Man in the White Suit (Studiocanal) [Buy at Amazon]
Singin’ in the Rain (Warner Home Video) [Buy at Amazon]

DECEMBER

Following (Criterion) [Buy Region 1 Blu-ray]
Searching For Sugar Man (Studiocanal) [Buy on DVD or Blu-ray]

The Best DVD & Blu-ray Releases of 2011
> 2012 in Film

Rewind 2012: DVD & Blu-ray Picks from April to November

One of the major changes in home entertainment over the last year was the rise of video-on-demand, with services such as iTunes, Lovefilm and Netflix eating away at the disc market.

But discs are still alive and studios still control the major releases on Blu-ray and DVD, with some releases coming with the cloud-based format called UltraViolet, which allows users to legally rip a digital copy.

We’ll have to wait and see how Christmas sales pan out, but we are currently living through a profound change in how we watch films in the home.

At the time of writing, the current situation resembles a confusing technical soup with various companies having to figure out some very difficult problems in how they produce and distribute their content.

But that is the subject of a longer post.

Here are my DVD and Blu-ray picks .

MAY

The Story of Film (Network) [Buy at Amazon]
Falstaff: Chimes at Midnight (Mr. Bongo) [Buy at Amazon]
Into the Abyss (Revolver)
The Jazz Baroness (3DD)
Treme: Season 2 (Warner Bros.)
Shame (Momentum) [Buy at Amazon]
Martha Marcy May Marlene (Fox)
The Artist (EV) [Buy at Amazon]

JUNE

Blue Velvet (Universal) [Buy at Amazon]
Lost Highway (Universal) [Buy at Amazon]
Odd Man Out (Network) [Buy at Amazon]

JULY

Chariots of Fire (Fox)
The Discreet Charm of the Bourgeoisie (StudioCanal) [Buy at Amazon]
Total Recall (Optimum Home Entertainment)
Some Like It Hot (MGM Home Entertainment)
A Fish Called Wanda (MGM Home Entertainment) [Buy at Amazon]

AUGUST

Le Harve (Artificial Eye) [Buy at Amazon]
Orlando (Artificial Eye)
This Must Be The Place (Trinity)
The Descendants (Fox) [Buy at Amazon]
Marley (Universal) [Buy at Amazon]
Rumble Fish (Eureka)

SEPTEMBER

Jaws (Universal) [Buy at Amazon]
Les Enfants Du Paradis (Second Sight) [Buy at Amazon]
All Quiet On The Western Front (Universal) [Buy at Amazon]
James Bond: Bond 50 (Fox) [Buy at Amazon]
To Catch a Thief (Paramount) [Buy at Amazon]
That Obscure Object of Desire (StudioCanal) [Buy at Amazon]
The Trial (StudioCanal) [Buy at Amazon]
The Turin Horse (Artificial Eye)

OCTOBER

Lawrence of Arabia (Sony) [Buy at Amazon]
Walkabout (Universal) [Buy at Amazon]
Dracula (Universal) [Buy at Amazon]
Frankenstein (Universal) [Buy at Amazon]
The Wolf Man (Universal) [Buy at Amazon]
Ai Weiwei – Never Sorry (Artificial Eye)
Indiana Jones: The Complete Collection (Paramount) [Buy at Amazon]
Prometheus (Fox)
Shut Up and Play the Hits (Pulse Films) [Buy at Amazon]
The Curse of Frankenstein (Lionsgate UK) [Buy at Amazon]
Woody Allen: A Documentary (Soda Pictures) [Buy at Amazon]
ET – The Extra Terrestrial (Universal) [Buy at Amazon]
Glengarry Glen Ross (ITV DVD)
Nostalgia for the Light (New Wave Films) [Buy at Amazon]
The Company of Wolves (ITV DVD) [Buy at Amazon]
The Shawshank Redemption (ITV DVD) [Buy at Amazon]
Homeland: Season 1 (Fox) [Buy at Amazon]

NOVEMBER

Citizen Kane (Universal) [Buy at Amazon]
Groundhog Day (Sony) [Buy at Amazon]
Alfred Hitchcock: The Masterpiece Collection (Universal) [Buy at Amazon]
Margin Call (Paramount) [Buy at Amazon]
The Man in the White Suit (Studiocanal) [Buy at Amazon]
Singin’ in the Rain (Warner Home Video) [Buy at Amazon]

The Best DVD & Blu-ray Releases of 2011
> 2012 in Film

The Best DVD & Blu-ray Releases of 2011

Here are my picks of the DVD and Blu-rays released in the UK during 2011.

Particular highlights were The Social Network, Don’t Look Now, Somewhere,  The Man Who Fell to EarthThe Thin Red Line, Taxi Driver, Apocalypse Now, Miller’s CrossingBen HurMy Voyage to ItalyUnited 93ManhunterAirplane!,  The ConversationThe Tree of LifeHenry: Portrait of a Serial KillerThe Three Colours Trilogy and Touch of Evil.

The most notable box sets were The Stanley Kubrick Collection (region free!), The Complete Larry Sanders, The Andrei Tarkovsky Collection and The Paolo Sorrentino Collection.

If you are reading this outside the UK just search your local Amazon site or equivalent online store and search for the title.

JANUARY

FEBRUARY

MARCH

APRIL

MAY 

JUNE

JULY

AUGUST

SEPTEMBER

OCTOBER

NOVEMBER

DECEMBER

NOTABLE IMPORTS

If you are based in the US or have a multi-region Blu-ray player then the following titles are my Criterion picks:

> Browse more DVD Releases at Amazon UK and Play
Browse all the cinema releases of 2011
The Best DVD and Blu-ray releases of 2010

Martin Scorsese and Grover Crisp on Blu-ray

How far has Blu-ray come as a format since the Martin Scorsese keynote address at the Blu-Con 2.0 conference in 2009?

Two years ago Scorsese joined the event live via satellite from New York City and his 20-minute address was moderated by Grover Crisp, the man in charge of film restoration and digital mastering for Sony Pictures Entertainment.

In the run up to Christmas sales of the home video format will be under renewed scrutiny, but it is worth looking at what was said via video of the event which someone has posted online in three parts:

Part 1: The history of home video, proper aspect ratios, why the Blu-ray format is superior, Bernard Herrman’s score for Taxi Driver (for which Crisp oversaw the recent Blu-ray restoration).

Part 2: They discuss the uncompressed sound of the format, how the rise of DVD drove the restoration of prints and the 4k restoration of Stanley Kubrick’s Dr. Strangelove.

Part 3: More on the Dr. Strangelove restoration and the dilemmas involved in doing it, Scorsese’s favourite film on Blu-ray, whether he considers the Blu-ray release before shooting a film and the benefits to future generations of filmmakers.

All this is interesting, not just because Scorsese is such a passionate authority on film, but because there is still is some confusion over the Blu-ray format.

The main problems have been: the needless format war which delayed the adoption of the format; mainstream confusion over how it differs from DVD; the costs of upgrading to a player and the recession.

I remember being sceptical about both high-definition disc formats (HD-DVD and Blu-ray) when they were given their first major marketing push in the run up to Christmas of 2007.

Was its introduction too soon after DVD?

I was invited to a screening of The Bourne Ultimatum on HD-DVD (still available on Amazon for some reason), projected in a cinema and the three guys there (publicity people mainly, but also a someone from Microsoft, who were involved in the format) were very bullish about why it would succeed and Blu-ray wouldn’t.

Two months later in February 2008 the HD-DVD format was dead, as Toshiba (the main electrical company behind the format) couldn’t sustain the costs after studios and retailers sided with Blu-ray.

During 2008 the cost of Blu-ray discs and systems was still relatively high, even though television was shifting to the HD era and it became hard to actually buy old-style analogue television sets.

The Dark Knight in late 2008 was perhaps the first truly blockbuster disc in the format, even though – compared to DVD – overall sales were still sluggish and anecdotally even people in the media I spoke to were confused, sceptical or didn’t care.

The main misunderstanding I encountered was the worry that DVDs couldn’t play on a Blu-ray player (they can) and just scepticism about upgrading their equipment.

Even in 2010 The Guardian were publishing articles by writers who didn’t seem to know what they were talking about, which prompted me to write this response.

At the moment, the adoption of the format is still being hobbled by the resilience of the DVD format (a lot of great titles are still really cheap) and a lingering sense of confusion about Blu-ray outside the home video/cinephile realm.

There is a three-way split between DVD, Blu-ray and digital downloads (if you include Netflix, iTunes etc) but optical discs might be more resilient than people think.

Although there are analogies with where the music industry was ten years ago, the recent problems at Netflix suggest that the adoption of digital downloads and streaming might be slower than you think.

Which brings us back to Scorsese.

His point that Blu-ray offers the best quality and drives the restoration of classic films (a subject very close to his heart) are good ones and in a year of sequels and remakes at the cinema, releases like Apocalypse Now, Taxi Driver, Ben Hur and The Three Colours Trilogy have been most welcome.

Seeing classic films that have been restored with care and attention is a real joy that reminds you of the craft that originally made them so great.

> More on the Blu-ray format at Wikipedia
> Recent DVD & Blu-ray posts
> Taxi Driver on Blu-ray
> Recent Martin Scorsese posts

First Films

New film formats come along every era but your first time with one usually sticks with you.

For my generation a common question to a music fan was ‘what was the first record you bought?’

But what about film experiences?

Yesterday London listings magazine Time Out asked readers on Twitter what their first DVD was and it triggered some memories not just of actual films, but the manner in which I first saw them.

In my life time I’ve seen movies projected via celluloid and digital prints at various cinemas, rented and then bought VHS tapes, DVDs, Blu-ray discs and digital downloads.

There’s a whole generation growing up now in a time where the digital quickly replacing the physical and between 2013 and 2015 it is estimated that celluloid as a projection medium will effectively die.

Remembering the first time you saw a film in a certain format not only triggers an important memory but also reminds us of what those experiences and technologies meant.

Here’s my list. (If you want to use Twitter for this use the hashtag #firstfilms and my username is @filmdetail)

FIRST CINEMA EXPERIENCE(S): The Empire Strikes Back

Given the amount of films I’ve seen in cinemas down the years, it might seem odd that I have difficulty remembering what the very first one was.

I know the cinema (The Rex in Berkhamstead), even the screen, and I’m pretty certain it was The Empire Strikes Back (which would’ve made it sometime in 1980) but being just 3 years old, I can only recall a few sequences and images.

After closing in 1988, the cinema was reborn years later and in 2006 Garth Jennings would film some scenes from Son of Rambow there.

Not long after I saw Superman II (which opened in the UK a few months before its US premiere) and the following year E.T. at the Hemel Hempstead Odeon.

I clearly remember being in the auditorium and a big deal at the times, but one that I couldn’t fully take in at the time.

My first ‘pristine’ cinema memory was Return of the Jedi (again at the Rex, Berkhamsted) and Octopussy (at the Watford Odeon) during the summer of 1983.

Never Say Never Again and Jaws 3D followed later that year.

I can also recall weird stuff that no-one ever talks about now like Metalstorm: The Destruction of Jared-Syn (“It’s High Noon at the end of the universe!”) which for years I was concerned was actually a figment of my imagination, until the IMDb and Wikipedia confirmed it really did exist.

Part of the fascination of the cinema then and now is pretty simple.

The big screen and sound is overwhelming and at its very best provides a lift like no other art form in human history.

At a young age, it is almost a form of magic that images so big can exist in a large room near to where you actually live, before immersing you in stories and locations anywhere in the world (or even outside it).

What’s interesting to note if you look at the biggest releases of this era, along with the PG-rated blockbusters I was allowed to see they were also a lot of adult films which I couldn’t get in to due to the restrictive ratings system in the UK.

Home video was about to change that.

FIRST VIDEO(S): Blade Runner and The Good, the Bad & the Ugly

Before the advent of home video, the only way you could watch films outside of their theatrical release was a repeat run or on television.

Sony actually developed the idea of recording video signals on to magnetic tape in the 1970s, but the major studios were vehemently opposed to it.

They felt it would kill their existing theatrical business (although ultimately home video became a huge profit source they relied upon) and sided against Sony’s Betamax format in favour of JVC’s VHS.

Plastic tapes inside the home were here to stay for the 1980s and 1990s.

Amongst the films on TV that I taped with the intensity of a projectionist responsible for a gala premiere were: Raiders of the Lost Ark (on ITV in 1985) and Escape from New York (on ITV in 1986).

Although I was young at the time (8 to be precise), the advent of the VCR was fairly mind blowing.

It not only meant you could actually record films on late at night and watch them the following day, but with rental stores opening up it was possible to see all the films you missed out on at the cinema.

As someone who regularly scanned Teletext (like an early version of the web but with 3 digit codes instead of URLs) for the latest cinema and TV listings, this was another revolution.

Although there is a generation that complained that they couldn’t work a VCR, these were people who couldn’t read the manual and didn’t think that recording films after the watershed (9pm) was incredibly exciting.

But I was that person and the first film I recorded off the TV was Every Which Way But Loose (1978) and I have to confess part of me didn’t think it would work.

Not because I doubted the instructions, but because there was something incredible about waking up, checking the VCR and watching a film in your own home.

This was what it was like to be a young film fan in the mid-1980s.

But if you wanted to see newer films (at this point the release window was 12 months) you had to go down to the video rental store as retail came later in 1989.

Sometime in 1985 I remember being given a big list of films the local renal store had which must have been around 200 titles, which was not quite Netflix or Amazon levels, but still mind-blowing for an 8 year old.

I’d like to say I picked Blade Runner as my first video rental because I somehow knew it would become an enduring classic, but the fact was it starred Harrison Ford and seemed along the lines of Star Wars.

This was seven years before the restored director’s cut surfaced in 1992 and I was too young to fully take it in, even though at that time many MTV videos were ripping off its visual aesthetic.

But it was still exciting that films were available outside the whims of broadcasters.

Amongst the rental highlights of this era were Mad Max Beyond Thunderdome in 1986 (which I saw before the first two), Beverly Hills Cop in 1987 (a full year before BBC1 removed *all* the swearing for its unintentionally hilarious network TV premiere) and Aliens in 1988 (mainly because it starred my friend’s dad).

When I later moved within walking distance of a video store, things got really serious.

New releases such as The Pick-Up Artist, Robocop, Maximum Overdrive, Predator and The Princess Bride were exciting to watch but there was also something about browsing the shelves.

The big black cases of Warner Bros movies, the CIC logo on Universal & Paramount titles and excitement of seeing if a new in-demand release had been returned was all heady stuff.

Notice how this CBS/Fox trailer for films on VHS employs a lot of the (now dated) video effects that were emerging in the 1980s:

One thing I can’t imagine going back to was the squarer aspect ratio for all those widescreen movies, even if a small minority of modern directors like Andrea Arnold and Gus Van Sant have gone back to it for effect.

Of course this notion seems comical in the current era of digital plenty, but maybe the idea that films were inherently special was partly forged in these trips where you couldn’t just rent anything as a lot of the hot titles were not available every time you went to the store.

When I switched schools in 1988 all the talk in the classroom was of the massive VHS titles of that era: Ferris Bueller’s Day Off (girls and boys), Dirty Dancing (mainly girls), Lethal Weapon and Nightmare on Elm St III (which lazy people referred to as “Freddy III”).

Companies were easing back-catalogue titles into sell-through and the first retail video I owned (or had bought for me) was The Good, the Bad & the Ugly in early 1988 and it is still a special film to me for all sorts of reasons.

For a few years you couldn’t really buy a new release rental video (unless you wanted to shell out about £80) as film companies felt that retail would cannibalise the rental market for brand new titles.

When Warner Bros broke the mould by releasing Rain Man to buy and rent on the same day in November 1989, it marked the beginning of an era when videos really became ubiquitous until the start of the DVD boom.

There were even annoying anti-piracy ads back then:

FIRST DVD: Glengarry Glen Ross

Although it will probably go down as the most profitable home format in history, I wasn’t an early adopter when it came to DVD, as the cost of the players seemed too high at first.

The bestselling titles early on included Enemy of the State in the spring of 1999 and later that year The Matrix, which really gave the format a boost.

It wasn’t until December 2001 that I got my first DVD player and in retrospect I can’t believe I left it that long.

For some reason I bought Glengarry Glen Ross as my first DVD (maybe it was cheap?) which was cropped to the 4:3 aspect ratio and weirdly on the Carlton TV DVD label.

The US distributor New Line Cinema would shrewdly sell off the foreign rights to their films to UK distributors, but why Carlton (a British TV company) distributed it is still something of a mystery.

I know their former boss Michael Green was a big film fan but it seems somewhat random that they distributed various films such as The Shawshank Redemption.

Early DVDs I remember renting included Hannibal, whilst Fight Club and Memento other discs I bought and kept coming back to (especially the latter).

FIRST BLU-RAY: There Will Be Blood

People may forget that the industry upgrade to a single HD format was a mess, which wasted two very valuable years, wasted a lot of Toshiba’s money and confused a lot of consumers.

Part of the problem was convincing people to upgrade the DVD collections just a few years after they had done the same with VHS tapes.

Not only that but you needed a new TV and player to do so and if that wasn’t enough studios and manufacturers were split on to what format to go with.

Sony’s Blu-ray eventually won the battle when Toshiba finally caved in during early 2008.

It was a few months later that Paul Thomas Anderson’s epic about a deranged oil man became my first Blu-ray purchase in anticipation of actually buying a player.

I knew it would look great in HD and wanted to wait until Christmas until the prices of players came down further.

When I played it for the first time, I was slightly disappointed in the loading time of the player and disc, which was later solved by a software update.

It looked fantastic, but those initial problems would foreshadow why HD formats wouldn’t take off in the same way that DVD did.

But although I had my doubts about HD, it has rekindled my love of older films, especially the digital restorations which breathe new life into classics.

Titles such as North By Northwest, Apocalypse Now, Baraka, Pierrot Le Fou, Ben Hur and Taxi Driver are just some that look spectacular.

Ironically, the digital process – by which the negative elements are scanned, restored frame-by-frame and then mastered at high-resolution – revives the filmic look of the original and in some cases is superior to even revival prints I’ve seen in the past.

Here’s Martin Scorsese talking about the format and the history of home video:

FIRST DIGITAL DOWNLOAD: Crazy Heart

This one is a bit of cheat because I had a Blu-ray disc of Crazy Heart and (legally) transferred the digital copy on to my computer, using the code provided on the triple play edition.

In truth, I’m not a big downloader even though the internet is the inevitable delivery system of the future.

Why doesn’t it cut it for me just yet?

The picture quality on Blu-ray is superior and you also have the problem of the large file sizes chewing up your hard drive.

That said, a digital copy of a film on a device like an iPad is handy if you want to analyse a film closely, as there’s something tactile about touching and looking at it on those kind of devices.

A smartphone is still too small a screen for long form video and I tend to agree with David Lynch’s opinion about watching a whole film on an iPhone.

I still think it is relatively early days for digital downloads as the market is dominated by only a few key players Apple, Amazon and Netflix.

This means the studios who control the content are wary of surrendering control to a dominant gatekeeper in the same way the major music labels ceded power to Apple.

At the moment the main digital initiative amongst the major studios is UltraViolet, which essentially allows users to buy digital versions of films.

Practically, this means that if you buy the UltraViolet version of a film, you can – in theory – download it to an internet connected device be it a TV, tablet or whatever device you choose.

At the moment Sony Pictures, Universal, Fox, Paramount, Warner Bros. and Lionsgate are all signed up to this.

Disney and Apple, who’ve had a close relationship since 2006, have opted for their digital file service called KeyChest and one can assume it will be closely tied to iTunes or maybe even the rumoured Apple television set.

Someone who currently works for the home entertainment arm of a major studio told me recently that the major challenge they currently face is a psychological one.

This particular studio has digitized most of its film library for downloads to various devices (especially gaming consoles like X-box and the PS3) there is still a resistance.

Older consumers used to buying discs in shops are still sometimes wary of digital downloads because they can’t physically touch them and worried about passwords not working or some technical glitch stopping them from watching films they’ve bought.

Another aspect is the recession hitting younger consumers who have been been an important part of driving new formats.

Then there is the storage issue: a disc can sit on your shelf for years but what about that download you bought on an older computer?

Users of iTunes – easily the most successful digital distribution platform – will attest that transferring you MP3 libraries between different computers is something of a nightmare.

This has led to Apple introducing iCloud, which stores all your media purchases in one place, but it is still early days for that to become fully mainstream.

Despite the huge cost savings that digital distribution will provide, perhaps it will take until broadband speeds get even faster, TVs get less fiddly and the average consumer (not just early adopters) get comfortable with the idea of replacing their discs.

So, what are your first films?

> Find out more about VHS, DVD, Blu-ray and UltraViolet at Wikipedia
> From Celluloid to Digital