The Hollywood Reporter
‘Mission: Impossible — Fallout’ Marketing Banks on Daredevil Action Scenes: For Mission: Impossible — Fallout, the sixth movie in a series that began 22 years ago, Paramount launched a marketing campaign that emphasizes the scale and scope of the stuntwork involved. (more here)
Blindspotting – Marketing Recap: Strong festival word of mouth is the movie’s greatest asset as it hits theaters. The movie is one of several coming out this year that deal in some manner with not only movements like Black Lives Matter but how many parts of the system in the U.S. are designed to keep some members of society at the edges.
Netflix Goes to the Comics at San Diego Comic-Con: In particular, Netflix seems to have found that comics could be a great way to make sure attendees are aware of some of its recent and returning shows and give those fans something to take with them back home and pass around.
Teen Titans Go! To The Movies – Marketing Recap: It’s hard to deny just how fun this campaign has been. It really comes off as simply a big-screen version of one of the show’s regular episodes, just with more cameos from the bigger super heroes and a more meta storyline. It’s kept all the elements that have made the show so popular, though, adding to that instead of trying to replace anything.
Extinction – Marketing Recap: Here’s hoping there’s more to the movie than what’s on display in the campaign. It’s fine and looks like a perfectly decent mid-tier science fiction movie, which is why Universal abandoned it (no singularly identifiable hook) and Netflix picked it up. It’s likely made its way into the lists of quite a few subscribers, who will eventually check it out while doing other things.
Movie Ticket Prices Track with Inflation, But Incomes Don’t: So while ticket prices have remained consistent with inflation, wages haven’t (and are actually falling), meaning that in real dollars a movie admission costs roughly 3.4X more as a percentage of income.
Tom Cruise Is Just Standing There: The trailers for recent releases like The Mummy, Edge of Tomorrow, American Made have all made sure to include heavy doses of the actor’s physicality. If you look at the posters for those same movies, though, you see he’s just…kind of there. He might be walking toward the camera or something, but he’s largely in some kind of static pose.
Chris Thilk is a freelance writer and content strategist who lives in the Chicago suburbs.