King Arthur: Legend of the Sword

Instead the focus seems to be mostly on Law and his scenery-chewing bad guy. The campaign wants to sell this as a big action movie with a wounded, reluctant hero at its core, but the stakes are never clear here. The trailers for Gods of Egypt made that story more understandable, and that’s a low bar to clear. It’s all science-fiction action instead of political intrigue as Arthur tries to reclaim his rightful throne because reasons, all of it presented in a muted color palate that even Zack Snyder probably thinks is desaturated a tad too much. It’s hard to see how this makes a meaningful impact at the box office unless Guardians Vol. 2 suffers really bad word of mouth and drops significantly.


That means the best part of the campaign is Hawn. All the focus on her returning to the big screen and the appreciation of her career and talents that’s reemerged in the press is wonderful to see and should remind everyone what a comedic force she was and still is. The main draw here, unless you’re a dyed-in-the-wool fan of Schumer and her style of comedy is the chance to see Hawn in action, and that may not be a strong enough call to action to make a big impact in theaters.

Paris Can Wait

As for the campaign itself, it’s fine. It delivers exactly the value proposition you’d expect it to, that the movie will be filled with images of wonderful French culture and delicious food just waiting to be Instagrammed. There’s nothing all that substantive here and as I said the focus is on the adventure Anne has, not the potential for an extramarital fling that may be lurking under the surface. The marketing sells the movie as a form of idyllic dreamscape for anyone who might be feeling similarly quashed as Lane’s character, which is the main message it needed to convey.