The Rise of Direct-To-Video Movies and the Evolution of Direct-To-Consumer Films

Bookcase full of B Movies on VHS

In today’s technology-infused world, most have immediate access to all the necessary entertainment. For the most part, too much. However, in that magical and frequently baffling land of the past, audiences were introduced to a different kind of video-on-demand.

While it was available at our fingertips, we had to transport them (and the rest of our bodies) to a bricks-and-mortar shop. In this case, it was a literal videotape you rented and returned within the agreed-upon time. As a result, these wonderful buildings dedicated to movies were home to all sorts of offerings.

Big blockbusters, iconic horror movies, Oscar-winning classics, independent films, and world cinema were now readily available. Next to the titles I knew were movies with exciting-looking covers. Some would star a recognizable face (or two); others were complete unknowns, but most I’d never heard of before. Who would have expected this frequently looked down upon the side of the industry would one day be worth billions?

The invention of the humble VHS birthed a new type of movie that still thrives today. I am, of course, talking about direct-to-video/DVD/consumer movies. For ease, I’ll just refer to it all as DTV regardless of its format. 

So join me on a (brief) exploration of the rise of DTV movies, their impact on the industry, and how technology keeps reshaping their distribution.

VHS Changes Everything, Again

The invention of VHS gave movie studios an unprecedented opportunity to monetize their films beyond theatrical releases. Back then, movies weren’t released everywhere simultaneously. In general, they would play in cinemas for months at a time. Admittedly, this almost quaint approach isn’t possible today, as too many movies are vying for screens.

In the years to follow, major studios dominated shelf space. However, those smaller, independent producers truly capitalized on this innovation. They began creating niche films that could bypass cinemas entirely, reaching audiences directly through home video.

First DTV Action Heroes

I entered DTV’s weird and wonderful world through action movies. Generally, any 15 or 18-rated action fodder would do; I wasn’t fussy. However, it was martial arts movies my brother was into, and he was old enough to rent whatever he liked. So, as a byproduct, I too became taken with this subgenre. The Karate Kid (1984) started a love of this genre that mainstream Hollywood didn’t cater to.

The likes of Arnold Schwarzenegger, Bruce Willis, and Sylvester Stallone dominated the box office. Comparatively, their DTV counterparts, Dolph Lundgren, Jean Claude Van Damme, Don ‘The Dragon Wilson’, and Jackie Chan, were more prolific. While some crossed over to mainstream studio movies, they continued (and continue) making DTV movies. Even the trinity of Schwarzenegger, Willis, and Stallone eventually joined their ranks.

The acting and overall quality weren’t up to the theatrical releases, but they didn’t need to be. As our time in the early action era is almost up, here are just a few more massive DTV stars who helped shape the genre.

  • Cynthia Rothrock
  • Chuck Norris
  • Steven Seagal
  • Billy Blanks
  • Thomas Ian Griffith

For all the success of DTV action movies, horror would leave an even bigger mark on the industry and society.

A New Home For Horror

Moral panic might have broken out in the early 80s over the VHS release of previously banned films (video nasties), yet horror thrived. Genre films found new life on VHS shelves, offering content that would not have succeeded theatrically. As a result, a new wave of filmmakers was bringing fresh (and gory) stories directly to a new generation.

These direct-to-video releases carved out a loyal audience, laying the groundwork for an entirely new market. The accessibility of VHS democratized the distribution process, making it easier for filmmakers to find their audience. Compared to mainstream horror, DTV saw a resurgence of the classic B-movie.

If you grew up in the 80s or 90s, you definitely borrowed a VHS of some horror movie from a friend.

Disney and DTV Sequels

If DTV horror created a moral outrage, Disney did something just as outrageous by cannibalizing their vault of animated classics. While The Mouse House didn’t invent direct-to-video sequels, they cornered the market fast.

Their first offering was a sequel to the blockbuster Aladdin (1992). The Return of Jafar (1994) basically combined the first few episodes of the in-production Aladdin animated series. The downgrade in animation, voice talent, and overall quality didn’t matter; the VHS sold more than 15 million copies. To put it another way, Disney’s $5 million spend yielded over $300 million in profit.  

This new money-making model nearly derailed one of Disney’s biggest franchises. Take the case of Toy Story 2 (1999). Initially developed as a DTV sequel, it was only due to the high animation quality that Disney/Pixar pivoted to theatrical. If Toy Story 2 (1999) had gone DTV, the rest of the franchise would have followed suit.

Here’s a small selection of Disney DTV/DTDVD titles

  • Aladdin and the King of Thieves (1996)
  • Lion King 2 Simbas Pride (1998)
  • The Little Mermaid II: Return to the Sea (2000)
  • Cinderella 2 (2002)
  • Bambi 2 (2006)

While Disney continues releasing originals on physical media (and streaming), it resorted to recycling its back catalog again. Since starting their live-action remakes, Disney has produced more than 20 movies. Naturally, there’s prequels and sequels to some of those, and at least 10 more in development. 

The Rise of DVD

As DVDs gained popularity, studios began producing straight-to-DVD films, often with higher budgets and better production values than their VHS predecessors. Former A-listers who once commanded up to $20 million a movie could continue to score big paydays. A robust DTV career for an aging action/horror star is like a retirement fund.

Every Studio Starts Making Direct-to-DVD Sequels

Once Disney opened Pandora’s box of inexpensive sequels on a mass level, every major studio followed. Most set up divisions of their respective studios purely to cater to direct-to-DVD projects. Nobody was going to the cinema to see American Pie Presents: Band Camp (2005). However, it sold more than a million copies (in the U.S) in its first week. Here’s a taste of the hit movies with direct-to-DVD sequels; some franchises are still going.  

  • The Lost Boys: Two Sequels
  • Deep Blue Sea: Two Sequels
  • Dragonheart: Four Sequels
  • Wrong Turn: Six Sequels
  • American Pie Presents: Six Sequels
  • Bring It On: Six Sequels
  • The Land Before Time: Thirteen sequels

We can all agree that Don Bluth’s animated classic The Land Before Time (1988) is a treasure. I might not have seen all 13 subsequent movies, but I doubt they are as good.

The Nicolas Cage Effect

I can’t write an article on direct-to-consumer movies and not briefly discuss the DTV Prince, aka Nicolas Cage. As a result of a massive IRS bill in the mid-2000s, Cage started his quest to appear in 50% of all movies. A stream of samey action movies, the occasional drama or horror, Cage was churning them out. However, periodically, he turns in a phenomenal performance in a theatrically released film.

He broke my heart in Pig (2021), showed depth in Joe (2013), and haunted my nightmares in Longless (2024). That’s not all; a voice role as Spider-Noir in Into The Spider-Verse (2018) and as himself in The Unbearable Weight of Massive Talent (2022). Cage is a singularity. No other actor can flip between DTV and theatrical. His days of National Treasure (2004) or Face Off (1997) might be behind him, but his prolific output keeps audiences on their toes.

Some A-List Filmmakers Got Their First Break with DTV

Every director has to start somewhere, and plenty of modern filmmakers got their first credit on a DTV movie. Adam Wingard might be known for You’re Next (2011) and Godzilla x Kong (2024), but his first two movies were DTV horrors. Doctor Strange (2016) director Scott Derrikson helmed Hellraiser: Inferno (2000). Mike Flanagan’s (Doctor Sleep) debut feature Absentia (2011) found its audience on DVD and helped him become the horror titan he is today.

Streaming Blurs The Line Between DTV and Theatrical

With the advent of streaming, the line between direct-to-consumer and theatrical releases has become increasingly blurred. Platforms like Netflix and Amazon Prime produce big-budget films starring A-list actors while offering smaller projects reminiscent of the traditional DTV era.

Christmas turkey, Red One (2024), was initially set to be released on Prime in 2023. However, it ended up in cinemas in November 2024, then dumped on Prime a month later. So, other than trying to offset its $250 million budget, what was the point in adopting this release method? A theatrical release is a great advert for the streaming launch. I honestly wish that was a joke, but movies that are released theatrically perform better on streaming.

In its purest form, DTV was all about making niche movies. Streaming has inherited and evolved that legacy, offering something for every audience. True as that may be, making movies that feel like an algorithm-made them isn’t the future.  

In the streaming era, oversaturation has become a concern, with platforms inundated with content of varying overall quality. Yet these direct-to-consumer streaming movies aren’t true DTV.

Physical Media Still Matters

Physical media is still proving to be a vital source of revenue for movie studios. Streaming has tried to kill it, but those beautiful shiny discs refuse to go quietly into that good night. A big part of that durability is the constant stream of DTV movies. Naturally, blockbuster movies play a significant part, but those are few and far between. The likes of Frank Grillo, Michael Jai White, and Scott Adkins fly the flag of modern DTV action stars. Similar to their 80s and 90s counterparts, they make a lot of movies. Many of them are indistinguishable from each other, that’s the true DTV spirit.

Conclusion

DTV movies have garnered a somewhat unfair reputation as being a short-hand to bad. While it’s true there’s never been a DTV film robbed of an Oscar, and good is a subjective term. One person’s worst film is another’s cherished classic.

Once seen as the end of the road for former stars, or a level of filmmaking that’s inferior to the blockbusters. For an entire generation of people, the origin of a movie isn’t important as it’s (mostly) all consumed the same way.

From the VHS revolution to the dominance of streaming platforms, this format has consistently adapted to technological changes and audience demands. Despite shifts in medium and scale, the core idea remains: delivering entertaining stories directly to viewers.

Picture of Chris Suffield
Chris Suffield
Chris is a writer, filmmaker, and editor with over 20 years of experience in independent film and the corporate sector. After completing a BA Hons in Media Production at University he formed Jellyfielder Studios, a boutique video production company. As a self-proclaimed uber-geek, Chris shares his love of all things TV and movies based on entertainment websites Box Office Buz and We Love Movies More Than You.
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