The Big Sick

The key selling point here is the charm of Nanjiani. That’s what’s conveyed throughout the campaign more than anything else. It’s what’s on display throughout the push, from the trailers to the poster to the press and everywhere else. Kazan is a big part of it as well but she understandably disappears through vast swaths of the the trailer and TV advertising. It’s being sold as an unconventional romantic comedy, something that may or may not resonate with audiences depending on how much they want to be challenged by material that might be outside their comfort zone.

Transformers: The Last Knight

Oof, there’s a lot to digest here. The story that’s being sold completely upends all the mythology of the previous Transformers movies to an extent that defies credulity unless I’ve missed something massive in the first three entries (I’ve yet to see the fourth) that hints a centuries-long presence on Earth. But honestly, does that even matter? They found a new way to create some new robots that look kind of cool and which are visually indistinguishable (my major complaint with these films) as the rest. It doesn’t matter what the story is, just come see Michael Bay light some fuses and ask a Josh Duhamel to look up at and interact with something that will be inserted digitally later.

The Beguiled

The entire campaign is one of female empowerment, of them holding the key to their own fates and not being beholden to the whims of any man. That’s clear in the trailers, which present Farrell’s McBurney as a secondary character at best, even if he’s an instigator of much of the story. It’s clear in the social media campaign, which has used cinemagraphic Tweets that overlay current phrases like “Get it girl” in bright colors over the dark, gothic images from the movie. Others have labeled Kidman’s Martha as the “Head Bitch in Charge.” Banner ads have proclaimed on June 23rd, “Good girls go bad.”