Blockbuster

SCREENER

MOVIES

Editor: Andi Prewitt / Contact: aprewitt@wweek.com

THE LAST BLOCKBUSTER

To answer the most obvious question: The last Blockbuster does indeed stock The Last Blockbuster. Taylor Morden’s engaging portrait of the once-ubiquitous video giant’s fi nal extant franchise may have debuted atop the iTunes chart for streaming documentary rentals, but Bend-area viewers swinging by the sole survivor could also search the shelves for copies on DVD or Blu-ray. Later this month, following extended negotiations with (post-bankruptcy rightsholders) Dish Network to replicate the chain’s gaudily branded thick, plastic storage cases, it’ll also carry a VHS edition—the fi rst o cial Blockbuster Exclusive since 2011. A native Oregonian who’d formerly helmed a pair of music docs, Here’s to Life: The Story of the Refreshments and Pick It Up!—Ska in the ’90s, Morden spoke with WW about the humble origins of his long-standing pet project, the challenges of hosting a COVID-era premiere and the surprising ease of enlisting celebrity commentators (Kevin Smith, Ione Skye, Jamie Kennedy). “We just had to reach out and say we were making a movie about the last Blockbuster,” Morden laughed. “They all were shocked that any were still left.”

WW: How did this all begin?

Taylor Morden: I’d found a Blockbuster Video here in Bend that was open and fully functional. It was like stepping through a ’90s time warp. I just asked if we could bring cameras around. Nobody had taken much interest at that time—they were kind of caught o guard—and we stuck with it. Back in early 2018, as they became the last Blockbuster in the state, the country, the world, there was a huge media boom. The store became part of the zeitgeist—all over the news, the late-night shows—and we were there fi lming.

How long did the others stay alive?

There were still 12 Blockbusters left when we started. Honestly, the whole time, I thought for sure Alaska would be last. Everybody did. They didn’t have high-speed internet, so DVDs made sense. We wanted to film up there for our ending, but interviewing their owner, he said all the stores were closing next week. They weren’t making money, and

LAST STAND: The world’s only remaining Blockbuster, in Bend, makes at least half of its revenue from candy and merch sales.

Video Chat

Discussing the origins of new documentary The Last Blockbuster, director Taylor Morden is kind, rewinds.

BY JAY HORTON @hortland

we went from four Blockbusters to one very quickly.

Why was Bend’s Blockbuster the last?

In part, it’s just the dumb luck of other stores happening to close, but it really comes down to the people running the place. Watch the movie, you’ll see manager Sandi Harding’s love for the store and the kids who work there. It’s not, you know, a super-profitable business—more a passion project—but, as long as the owners feel they can break even, they’re going to keep providing jobs through this community hub.

How does it stay afl oat?

They still sell tons of snacks—candy, Red Vines, fancy local popcorn—and they’re doing a lot of sales online with T-shirts, shot glasses, souvenirs. We sell our movie poster there. Last time I asked, only about half of their revenue came from renting DVDs. There’s just much more demand for getting a picture taken in front of the Blockbuster sign. There’s enough memorabilia for a museum, and nostalgia’s so strong right now that the store was becoming a tourist attraction.

Did you have any screenings?

With all the theaters shut down, it was a rough year to put out a movie. People tweet at us all the time now about the irony of renting the fi lm on iTunes or watching it on Amazon. Instead of the indie-theater run we wanted, we did a handful of drive-ins. BendFilm [Festival] had a popup series all summer that was really cool. We played at that a few times, and our world premiere was there. That was the fun one. We sold out, I think, three screenings in a row? For us in Bend, that was the fi rst time we’d left our houses and gathered for anything since March. It was my fi rst time at a drive-in since the late ’80s—very surreal.

Do you believe there’s something intrinsically valuable about the video store?

Oh, of course. That’s kind of our mission statement. We’ve traded so much for this sense of convenience, but what have we lost in exchange? It’s a part of our culture that’s slipping away. We’ve lost that sense of community, purpose, these physical objects that used to hold movies. Thank goodness for places like this Blockbuster and Movie Madness and, you know, the few stores hanging on.

It’s not about access to the fi lms, then?

The people we talked to about Blockbuster Video have all these fond memories of the rental experience, but almost never mention the movies. It was a date night, or the family was fi ghting, or they went with their grandparents, or they took the kids. Those are the things that stick out and resonate. We still have all the movies. Back to the Future II isn’t gone just because the stores went away. The experience of picking it out with your family and rewinding the tape and taking it back to Blockbuster…that’s what’s gone.

GET YOUR REPS IN

While local rep theaters are out of commission, we’ll be putting together weekly watchlists of fi lms readily available to stream. Academy Award-winning English director Steve McQueen, best known for 2013’s 12 Years a Slave, recently created a fi lm series titled Small Axe. Each of the fi ve installments depicts a di erent slice of Black British culture in the ’60s and ’70s, and all are streaming on Amazon Prime.

Mangrove (2020)

After a series of racially fueled raids by Notting Hill police at a Caribbean restaurant named Mangrove, local Black activists peacefully take to the streets in protest, leading to unfounded arrests for “riot incitement” and the highly publicized trial of the Mangrove Nine. Letitia Wright of Black Panther stars as real-life leader of the British Black Panther movement Altheia Jones-LeCointe. Amazon Prime.

Lovers Rock (2020)

This gorgeous romance centers on one night at a house party and its e ect on several intertwining relationships. Here, guests drink, smoke joints and dance to a form of reggae called “lovers rock,” fi nding pure joy and sacred refuge from the constraining tension of a white-dominated West London. Amazon Prime.

Red, White and Blue (2020)

John Boyega of Star Wars fame stars as Leroy Logan, a London man who, after seeing his father assaulted by police at a young age, joins the Metropolitan Police in an attempt to reform the institution from within. This searing biopic probes the complexities of choosing between assimilation versus rebellion. Amazon Prime.

Alex Wheatle (2020)

Another biopic, this one following the turbulent life of the titular author Alex Wheatle. After growing up feeling alienated in a mostly white children’s home, Wheatle eventually fi nds community in Brixton, where he’s able to get in touch with his Jamaican identity and his love of music before his involvement in the Brixton uprising unjustly lands him in prison. Amazon Prime.

Education (2020)

In this coming-of-age story, Kingsley, a brilliant 12-year-old Black boy with a passion for astronomy, is suddenly transferred to a suspicious school for the “educationally subnormal.” This uno cial segregation policy systemically prevents Black children from receiving the education they deserve—luckily, a kindhearted psychologist appears to o er Kingsley a glimmer of hope. Amazon Prime.