Cinematic Slant is where I write about movies, including the campaign recaps I’ve been doing since 2004 along with other news and opinions.
Early Man – Marketing Recap: This is exactly the kind of campaign you’d expect to be mounted for an Aardman film. It’s instantly recognizable, relatable and attractive to anyone who’s enjoyed “Wallace and Gromit” or “Shaun the Sheep” or anything else from the studio.
The Party – Marketing Recap: No, it’s not a huge campaign by any stretch of the imagination, but it does still look like an attractive option for those looking for smaller, character-driven stories at a time when we never really move out of blockbuster season. All of those involved – from the cast to the director – are all favorites of the indie film crowd and the promise of what amounts to a filmed stage play is pretty convincing.
Black Panther – Marketing Recap: It may sound trite, especially coming someone of my complexion, but I appreciate the way the so much of the campaign was rooted in culture and community. That extends from the emphasis on the soundtrack to the video Jordan was in for Brisk teas. And it’s certainly reflected in the way so many people, both well-known and every day, wanted to make sure the kids in the community could see the movie.
Nostalgia – Marketing Recap: The shame of it is there does look to be an interesting story here. Assuming this isn’t actually a Malick-esque meditation on the meaning of nothingness and more of a direct examination of how things trigger memories in people that could be a bit original and intriguing.
The Boy Downstairs – Marketing Recap: Mamet certainly is charming and, as I said, is the main reason presented to see the movie since the story is nothing we haven’t seen hundreds of time before, at least not based on what we see here. If there’s a more original film that Brooks has made, it’s being hidden here by something that looks very, very familiar.
Golden Exits – Marketing Recap: What’s on display here seems fine. These are all talented actors and I’m sure it’s worth watching, even if we’re once again asked to become emotionally invested in the ennui of the white educated class. Again, it’s the performances that will mostly attract whatever audiences are actually aware the film is coming out so those are at the center of the limited campaign.
Chris Thilk is a freelance writer and content strategist who lives in the Chicago suburbs.