We’ve seen groups of female friends learn How To Be Single. We’ve seen them embrace the dark side and become Bad Moms. We’ve seen them have a Rough Night. Now we’re going to see them take a Girls Trip. This latest installment in the “ladies behaving badly” genre follows four longtime friends as they travel to New Orleans for Essence Festival, a weekend of music, eating and inspirational speakers hosted by the magazine of the same name.
The four friends in question are Ryan (Regina Hall), Sasha (Queen Latifah), Lisa (Jada Pinkett Smith) and Dina (Tiffany Haddish), all of who are, of course, at different places in their lives. They all agree to get together for a long-overdue road trip, though. Despite the reservations of some of the group, they all wind up getting loose once in town as they enjoy all the spirits and men New Orleans has to offer.
The conflict that’s been building over the course of two previous movies comes to a head in this week’s War For The Planet Of The Apes. Up to now the story has followed the rise of the apes thanks to a virus that made them more intelligent but which killed vast swaths of the human population. Humans have fought for their survival before but now the final battle for possession of the planet is coming.
Caesar (motion-captured by Andy Serkis) is still leading the ape population, wanting peace with the human survivors but also ready for the war many, both ape and human, seem to want. The humans for their part have rallied an army around the charismatic Colonel (Woody Harrelson), a ruthless leader who will accept nothing less than the complete elimination of the apes. Will peace prevail or will it all end in bloodshed? That’s the core question that drives the story.
The first poster shows just how far the series and its characters have come over the years. It shows Caesar, a deadly serious expression on his face and a rifle slung across his back, riding a horse through the snow. “WAR” is the only copy on the one-sheet outside of the release date.
A second poster shows Caesar staring at the camera in a pose we know from a recent trailer is him riding horseback. Just behind him, looking out over his shoulder, is the young girl we saw in that trailer. The copy tells us this is “For freedom. For family. For the planet.” which tells us exactly what the stakes are in this final chapter of the trilogy. Another just shows Nova, the girl, in a colorful field, an ape’s hand putting a small flower in her hair. That’s designed to show that humans and apes can live together, a contrast to the attitude shown through much of the rest of the campaign.
The next poster is solely about the conflict between the two armies. We see the backs of the heads of the human soldiers, many of whom are touting their ape killing attitude or experience on the helmets that are visible here, a few ape collaborators mixed in as well. The ape army is approaching them on foot and climbing over the ramparts, a few emissaries out in front to, it’s assumed, try to broker peace.
A final poster used the same image of Caesar on horseback from the first “WAR” poster, but adds Nova peeking out from in back of him. The copy on this one makes it clear the story is wrapping up in dramatic fashion by prompting the audience to “Witness the end.”
The first trailer starts off with two apes riding along the beach, a human girl on one of their backs. Caesar narrates that he didn’t want, nor did he start, the war with the humans. Various scenes of fighting are followed by a shot of The Colonel overusing his troops and it’s clear he’s the primary adversary for the apes in this story. The two armies go up against each other in a number of ways as he takes over the narration, intoning that if the humans don’t win this fight, it will be a planet of apes.
Not bad. The stakes of the story are laid out pretty clearly here, primarily the conflict between the apes and the last of humanity, now heavily militarized. There’s surely lots more story in the movie itself but this gets the general premise – that it’s time for the final showdown – pretty clear.
A second trailer starts with new footage but narration from the first movies to show how far things have come. Caesar confronts a group of captured soldier before we see some of the other gorillas and then the human army that’s going to make one last attack to save their world. It’s clear a confrontation for survival is in the offing and the action ramps up from there that has both broad and personal stakes.
The final trailer starts with apes breaking into a human home, guns drawn. They take a child they find there, more out of mercy than to take a hostage. We quickly see that the conflict between men and apes is reaching its conclusion, with collaborators and sympathizers for the enemy on both sides. Apes don’t want to fight but the men do and won’t stop until everyone else is dead.
While there are some elements of a philosophical story here about the right and wrong use of violence it’s very clearly being sold as a straightforward action movie in this trailer. It’s all about the explosions and the gunplay and the big, macho speeches being given.
One more trailer acts as a “Previously on…” recap of the previous two movies and the events that have lead to all-out war.
Online and Social
The official website gets the standard Fox template, with a banner at the top that uses a cropped version of the key art of Caesar and Nova. There are prompts just below that banner to watch the trailer, connect with the movie on Facebook or Twitter and to get tickets.
Scroll down and you’re greeted with “Videos” which is where you can watch all the trailers, some featurettes and other clips. The “About” section has a synopsis that sets up the mounting conflict and lists the cast and primary crew.
The “Featured Content” section has a few interesting links. First, there’s a prompt to buy tickets to a special triple feature select theaters hosted this past Wednesday that included all three of the current Apes movies. Next is a link to buy the new Funko POP! figures based on characters from this movie. Finally, there’s a link to the Planet of the Apes hub that will tell you everything you need to know about the franchise, be it on film, in comics or elsewhere.
There are a half-dozen stills in the “Gallery” you can download. “Partners” lists the few companies that have signed on as promotional partners.
The site finishes up with a call to action to sign up for email updates about Fox movies and a gallery of embedded updates from the movie’s social media accounts, including Instagram.
Advertising and Cross-Promotions
TV spots like this took on the same tone as the final trailer, with a little bit of hot take-esque philosophy and ethics wrapped up in an action movie that pits apes against humans. More commercials would follow that took varying approaches, selling it as a very small-scale story of compassion or a very large-scale story of all-out warfare.
Promotional partner companies for the movie included:
The Jane Goodall Institute, with which Fox partnered to help in that organization’s chimpanzee rescue and refuge programs. A TV spot accompanied that effort.
Chase Pay, which offered a buy-one-get-one deal when you purchased tickets through Atom Tickets, the service that encourages group movie outings.
T-Mobile, which also worked with Atom Tickets to give its customers $4 tickets for opening weekend.
Red Robin, which offered a free movie ticket when you purchased a $25 movie-branded gift card.
FYE, though details aren’t readily available. Presumably, the retailer had movie merchandise it was promoting.
Online ads, as well as outdoor billboards and other signage, used the key art of Caesar’s face in close-up while social advertising helped promote the trailers as they were released.
Media and Publicity
One of the first bits of publicity came when the studio launched a contest to give a lucky winner a walk-on role, with the caveat being that they would become an ape and therefore not have their face seen on-screen. Quite a while later the first story details came out at the same time the studio announced the movie would have a significant presence at the upcoming New York Comic-Con, with a “digital billboard” appearing just before that to set the stage for further announcements. That presence also included a panel where the cast and crew talked about the movie, what they have in mind for the future and more.
Further stills and other information trickled out over time, including the fact that the young girl seen in the trailer shares a name with a character from the classic series. Later on, Reeves would talk about what films and styles he was trying to ape (sorry) to create the look, feel and tone of this entry.
As with many recent major releases from this and other studios, Fox announced a virtual reality experience tied to the movie.
Once more Serkis’ motion-capture work for Caesar spurred conversation about what exactly constitutes an awards-worthy performance, and rightfully so. That feature also talked about his career as a whole and the work he does for the motion-capture field as a whole, which is substantive.
Members of the cast also made the talk show rounds in the weeks leading up to release. Harrelson did his share of that, though too often the conversation wound up being less about this movie than his role in the upcoming Han Solo movie that’s had some notable upset recently.
The primary message of the campaign here is that all-out war has finally come to the conflict between man and ape. The disease has taken its toll, the vaccine has made apes incredibly intelligent and the two alpha races are going to play one final game for control of the world. That’s hammered home time and again in the trailers and TV spots as well as through much of the poster component.
There’s also a strong element of compassion, though. Much of that revolves around the girl Nova and the way she’s found and eventually protected by some of the apes. While it’s a small part of the campaign it seems like the kind of thing that could play an outsized role in the movie itself.
Mostly, though, Fox wants audiences to turn out to see the final chapter, and that’s very much how it’s being sold. It all ends here, we’re told in various ways and in various components of the campaign, so if you’ve enjoyed the lead up to this you won’t want to miss the conclusion. Let’s see if that’s enough to catapult it over Spider-Man: Homecoming’s second week.
The moniker “Lady Macbeth” is a derogatory term affixed to a woman who someone deems to be overly-ambitious and cruel in her determination to succeed. That’s based on the character from the Shakespeare play who urges her husband on to accumulate more and more power, taking out any and all threats to them. She sees his success as hers and pulls the strings.
The new movie Lady Macbeth is not based on that character or that play but the main character is no less determined to succeed. Katherine (Florence Pugh), is a young woman in 19th century England who’s been sold into marriage to Sebastian (Cosmo Jarvis), a man twice her age. As with many such stories, she begins an affair with a younger man who works on the estate. But this affair isn’t enough and she finds herself taking desperate action to get what she wants and take control over her own life.
The first poster shows Pugh in period dress clutching the back of a chair and looking around as if she has some scheme or plan on her mind. A positive quote from an early review is at the top and we’re told below the title that this is based on a source novel. The movie’s festival history is toward the bottom to make it more attractive to moviegoers who are interested in such things.
Another poster took the same basic approach, just this time with a photo of Pugh sitting on a small couch. Her name is given more prominent placement at the very top, showing that there’s more of a focus on her in selling the movie. A variety of positive review quotes appear between her name and the title.
The first trailer starts off by showing Lady Katherine is married to a mean, heartless man who doesn’t care for her dreams or personality at all. While he’s gone she starts an affair with a local farmer who’s nothing like her husband, who’s not thrilled. The lovers take matters into their own hands, which leads to more drama in the small town and in her own home, but she remains in control of the situation at all times.
It’s great, selling a psychological thriller with a story that’s both original and recognizable. Pugh looks fantastic as the woman who decides she will not be subject to anyone else’s idea of what her fate should be and goes after what she wants. The trailer hints at plot twists that should be expected in a movie like this but it looks very enjoyable.
Online and Social
The official website opens by playing the official trailer, which is certainly worth watching again. “Trailer” is actually the first item on the content menu at the top. If you go back to “Home” you can see some full screen video featuring footage from that trailer along with the same image that’s on the poster of Katherine sitting on the couch. A series of positive quotes from early reviews rotates at the top. Farther down the page you can “Save to calendar” a reminder of when tickets are on sale in your area.
The only other content on the site aside from a link to the movie’s Facebook profile, is “Synopsis.” That offers a pretty short recap of the story along with the names of those involved.
Advertising and Cross-Promotions
Nothing I’ve seen or am aware of here. Roadside probably did some localized advertising in the initial cities it’s playing in but that’s likely about it.
Media and Publicity
Positive buzz from a screening at the Toronto International Film Festival got things off on a good note, particularly for Pugh as her performance was pegged as being impressive. It was soon picked up by Roadside Attractions. It was later announced the movie would also head to Sundance 2017 before its eventual release.
Pugh’s performance was singled out for effusive praise and called the single best reason to see the movie. She talked in that interview about the role and how she approached while director William Oldroyd about what made her right for the part.
This is the second movie in about a month to emphasize the idea of women retaking their agency in its marketing, the first being The Beguiled last month. It shows just enough of Katherine’s motivations and actions to make it clear she’s had enough of the situation she’s been put into and is taking matters into her own hands, whatever that might entail. She will no longer be anyone’s possession but will follow her passions.
The main issue is that we’ve seen this movie before. There are countless stories in the last 10 years or so about women of the 18th or 19th century who take a lover after finding themselves married to cold or cruel men out of necessity or familial political mechanizations. There’s even one that’s supposed to come out later this year, assuming The Weinstein Co. eventually remembers it owns Tulip Fever. That’s why, I think, the press has focused so much on Pugh’s performance, because it has the potential to be the differentiating factor from those other stories and make Lady Macbeth worth seeing.
Spider-Man is back in theaters in this week’s Spider-Man: Homecoming. After an extended cameo in last year’s Captain America: Civil War, this is Tom Holland’s second outing as the web-slinger and his first in the character’s own movie. Well…kind of his own movie. The corporate cooperation that began with Civil War continues here. Sony, which owns the theatrical rights to Spider-Man, is essentially loaning him out to Marvel Studios, which manages the highly successful Marvel Cinematic Universe. So Sony gets to use the successful platform of that behemoth to help launch their third go-around at Spider-Man, while Marvel gets to incorporate Spidey into their big event movies.
Continuing the story set up in Civil War, Peter Parker is enamored with the tech genius Tony Stark (played again by Robert Downey Jr.). Stark provides him with a high-tech suit to help Parker fight local neighborhood crime as Spider-Man. The stakes get considerably higher when Spidey crosses paths with, and gets on the wrong side of, The Vulture (Michael Keaton). That conflict threatens everything that Peter holds near and dear and could upend the life he leads as a seemingly unremarkable high school student.
A Ghost Story sees writer/director David Lowery returning to his indie-film roots after taking his turn at a big studio movie with last year’s Pete’s Dragon adaptation. The movie reunites him with the cast of Ain’t Them Bodies Saints, both Rooney Mara and Casey Affleck.
It’s a simple story: Affleck plays the ghost of a man who has recently passed away, returning to try to connect with his still-living wife (Mara) in their home. But, floating around like a cliched ghost in a white sheet, he finds he’s not in one time or place, instead floating throughout his own timeline as he’s forced to grapple with some of life’s most serious questions.
The first poster uses one of the key images of the movie to stark, simple effect. So aside from the title, a short pull quote and the cast list, the only thing here is a photo of someone standing there in a bedsheet with the eyes cut out. “It’s all about time” we’re told in the copy toward the bottom of the design. The whole thing looks like it’s in black and white and the starry background that’s shown gives it a weird, mysterious scope, which is cool.
The first trailer opens with the sheet-covered figure standing in what looks to be a quarry before we get shots of M and C in bed and generally being a cute couple. She’s telling him about the notes she used to leave in an old house so she’d have something to come back to. When we see that he’s died she becomes depressed and through the rest of the trailer we see the ghost lingering on the edges of the action of M and others.
I’m not sure what exactly is going on here but I’m on board. The performances from Mara and Affleck look great and this seems like a mysterious, twisty story that really has to be seen to be fully understood or believed. It certainly lives up to the hype that came out of festival screenings.
Online and Social
The official website is wholly unique. First of all, the URL ends in .store and the point here is – or at least was – to get you to “buy” a sheet like the one worn by Affleck in the movie. There are prompts to enter to redeem a code or you can hold down your mouse button and watch a 9-minute long video of scenes from the movie with text like “Why are you here?” and “Are you feeling infinite?” over them before you’re given the chance to order your own. Unfortunately they’re all out of stock but the site still looks like it’s selling them, with promotional copy akin to what you’d find on the site of Land’s End or something. There’s even a link to a store in New York where you can, or could, get your own.
There were a few other interviews by Lowery, Mara or Affleck to talk about similar subjects. And there was some coverage of the small storefront A24 set up to sell sheets and the whole experience the studio created for that.
I’m intrigued by how A24 has set out to sell this as something very, very different. It’s not Ghost, with its swooning love story about eternal love. But it’s also not a story of overtly trying to set things right or come to terms with the life you lived while you were here. Instead it’s being sold as a mysterious love story that is more about the rubble one leaves behind in a life than an effort to pick up that rubble.
The campaign really has to be divided into two halves: First, the poster and trailer are nicely consistent in how they present a strange, unusual story about a man wearing a white sheet and kinda sorta haunting his widow; Second, the website and the experiential element of actually having people being able to to order and buy the sheets shows the studio having a bit of fun with the concept. That’s great, but it’s doubtful that’s going to do much to reach more than a small subset of the audience outside of film press and those who hang on their every word. Still, it’s a fun execution and deserves some kudos.