The focus here is clearly on this being a return by Lewis to the movies, with only peripheral attention being paid to the story, which is primarily referenced in the trailer. Everything else here is just about how Lewis is back, capping off his long and distinguished career with a role that brings all the emotions and tears that brings with it.
It’s an interesting choice that’s been made with the campaign and seemingly with the movie as a whole. As I said above, what’s being sold here is less a cautionary tale of scientific hubris than a straight-up horror movie with some sci-fi elements. I don’t know that there’s a good or bad approach that could have been taken, but the studio’s marketers has obviously decided to lean more into the jump-scares and smears of blood than any sort of moralistic intonations of genetic tampering.
There are two distinct stories being sold here by two distinct elements of the campaign: The posters and publicity are very much selling the love story, the wonderful life that Tom and Isabelle have together and how passionately they’re in love with one another. Then there’s the trailers and TV spots that are selling partly that but mostly the drama around finding the abandoned baby and the decision as to what to do about that situation.
…the marketing of Yoga Hosers has to trade on the Kevin Smith name without being what most people would easily identify as a Kevin Smith movie, an idea most people still associate with Clerks and Mallrats and such. It’s trying to sell a ludicrous concept – foot tall Nazis made of bratwurst invading a Canadian city that’s defended by two basic teens – in a way that’s at all comprehensible by the audience. I don’t know that it succeeds – indeed I don’t know what success would have looked like – but it doesn’t hide the insanity lying behind the story, so the audience can’t say it wasn’t warned.