- There’s a new trailer for Terminator 2: Judgement Day to promote the movie’s upcoming 3D rerelease in theaters.
- A new 60-second trailer for Dunkirk amps up the tension through a cool use of sound and cuts in the film. The movie is also getting its own VR experience, which is unusual for a non-superhero/sci-fi flick, and that has a trailer.
- One more trailer for War For The Planet of the Apes acts as a “previously on…” recap of the previous two movies and the events that have lead to all-out war.
- The details on which studios are bringing which movies to San Diego Comic-Con to reach that audience have emerged. Some interesting choices here.
- The first trailer for Icarus, Netflix’s new documentary about Russian Olympic doping, is really powerful. Can you imagine if a system this devoted to cheating set their mind toward, I don’t know, American politics? Yikes.
- Belle de Jour is turning 50 and getting a big 4K theatrical release, with a new trailer promoting that event that’s amazing. (via IndieWire)
- I don’t get to watch too many of them but I love documentaries about niche subcultures, so I dug the trailer for California Typewriter about enthusiasts of the technology.
- Fox Searchlight put out a fun “lyric video” to promote its rap culture movie Patti Cake$.
Well, the first trailer for Fun Mom Dinner is out and I have some thoughts.
- There’s a hot take to be written at some point about how we’re supposed to just assume that something is funnier just because it involves mothers, with the comedy derived mainly from putting the person most responsible for everyone in outrageous situations designed to show them acting out.
- This is being sold in almost exactly the same way as both Bad Moms (and now Bad Moms Christmas) and Rough Night. Girls Trip is a bit different, though.
- Putting both Adam Scott and Paul Rudd in the movie is almost unfair in how it’s going to appeal to certain subsets of the female audience.
- Speaking of which, is Rudd playing the same character he did in My Idiot Brother? Has anyone else posited this yet? I feel I’m on solid ground.
- I’m 100% surprised there isn’t vomiting shown on-screen here.
- Also, I’m 100% certain at some point I’ve inadvertently referred to watching my own kids as “babysitting.” Let’s just move on.
- Is it just me or is Rudd not included in the credits at the end? What’s up with that?
“Marvel vs DC” is an easy narrative that’s picked up both fans and critics. Goodness knows there’s been plenty of opportunity to have that discussion, either in comic shops or theater lobbies, where films based on comic book characters are squaring off against each other.
Today I’m going to focus on something that hasn’t been endlessly debated already but which came into focus in the last month. Namely, the massively different approaches taken on the posters for the two most recent comic book movies, Wonder Woman and Spider-Man: Homecoming.
If you look at the posters for Wonder Woman, many of which were created by either Concept Arts or BOND, you’ll see a sleek, simplified approach. Each poster went for one specific message while also carrying over some brand consistency. So a series of posters emphasized character traits like “Courage” and “Power” while others conveyed those characteristics simply by posing star Gal Gadot in various ways. They all tied together through the use of red, orange and blue, using visuals that reflected the light, clearly telling the audience the movie would have a brighter tone than previous DCU films. Each one was striking for its minimalism, something that may have been equal parts intentional and simply the result of not having a whole cast of heroes that needed to share the spotlight.
Contrast that with the overly-busy posters for Spider-Man: Homecoming. The designers here seem to have been given the direction to leave nothing off. Every poster, even the early ones, make it clear that Spider-Man is now part of the Marvel Cinematic Universe. That’s done either (relatively) subtly by just putting Avengers Tower in the background of the New York City skyline or overtly by including Iron Man and/or Tony Stark. And it’s not just that the character shows up here and there. Just like with the trailers, Stark/Iron Man is everywhere. By my count, there were eight domestic U.S. posters and six of them feature either Iron Man or Avengers Tower. All sense of understated design thinking is discarded on a couple of the posters that seem to have been created by someone pasting photos from Google Image searches together. It’s a very colorful campaign, but it’s also as subtle as an elephant with a sinus infection.
I’m not going to expect the less artistically-minded approach taken in Spider-Man’s campaign to impact its box office at all. But it’s notable how this is being sold as a movie that literally has *everything* the audience might be looking for, as compared to Wonder Woman’s posters that sold an image of a strong, confident solo woman superhero who stood out on her own. That shows a completely different mindset on the part of the studio, one that’s more committed to selling an attitude and style versus one that just needs to make sure it hits all its contractually-obligated beats.
I know which one I prefer.
Sony is hinting at something with the release of a video (I’m not referring to it as a “viral video” as some others are doing because you don’t get to decide that, it’s the result of it being well-received, not a designation that’s assigned) entitled “This Means Something.” The video is in some manner tied to Steven Spielberg’s classic Close Encounters of the Third Kind and takes audio from a key sequence in that movie involving an air traffic controller listening to reports of an unidentified object in the skies that’s been seen by some commercial airliners. At the end of the video the URL WeAreStillNotAlone.com is displayed and when you go there you can sign up to “receive updates on UFO sightings.”
So what’s Sony up to? There’s no official news here but it likely has something to do with this December being the 40th anniversary of the movie’s release. It’s almost inconceivable that a sequel of any sort could be in the works, so the simplest explanation is that there’s a theatrical rerelease or new Blu-ray set coming later this year to mark the movie’s fourth decade.
As I’ve gotten older I’ve begun preferring Close Encounters more than Spielberg’s other early-career science fiction effort, E.T. I enjoy the languid pacing of the story, identify with the struggles of Richard Dreyfuss’ slightly-mad father and feel the full weight of the final act on the top of Devil’s Peak more intensely. It’s just as heartwarming in its own way as anything else the director has helmed, though it comes at that somewhat sideways and takes a long time to get there. Still, I find it rewards multiple viewings more than most other Spielberg movies.
Stay tuned for updates.
The first trailer for Jumanji: Welcome to the Jungle is out and I have thoughts.
- Why is every franchise adaptation now a variation on The Breakfast Club? First it was the Power Rangers film, now it’s Jumanji that starts out with a group of mis-matched high school students being thrown together in detention. Is this the only way modern screenwriters can think of to bring characters to one place so the plot can kick in?
- Throwing a flag on flagrant underuse of Marc Evan Jackson as the principal. If this is all Hollywood can think of to do with him, there are bigger issues.
- Why do they react to the discovery of an old game system with such shock? They’ve never seen something like this before?
- So…it’s TRON?
- Karen Gillan’s wardrobe was a controversial point when promotional images started coming out, but the explanations amounted to “well that’s how video game females look,” which isn’t enough. Neither is acknowledging it with dialogue.
- Still waiting for Kevin Hart to not play Kevin Hart.
- Oh cool, funny Jack Black is back.
- Well of course Guns ’n’ Roses’ “Welcome to the Jungle” was going to be used.