To sell the movie — not based on any existing property or material — the studio has run a campaign focused on the emotional drama of Pitt’s McBride and how he deals with his personal issues while also trying to save the world.

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The movie, tracking for a $25 million-plus opening weekend and with a 96 percent Fresh rating on Rotten Tomatoes, has been sold in its marketing and promotional campaign by the studio as a funny, glitzy and star-studded heist caper.

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With an 71 percent Fresh rating on Rotten Tomatoes, early reviews have labeled the much-anticipated sequel fun and ambitious, even if the nearly-three-hour running time is seen as overly long. To sell audiences on what may be the official kickoff to the fall movie season, Warner Bros.’ campaign has relied on the same sort of immersive experiences used two years ago for the first film.

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To sell the movie, Lionsgate has mounted a campaign filled with action and drama along with an appeal for audiences looking for one last big screen thrill before summer ends.

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The marketing for the movie — named after an early Springsteen song — has taken full advantage of The Boss’s position as the story’s inciting incident to create a campaign celebrating the freedom of inspiration.

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Disney’s campaign for the movie, which it inherited from Fox 2000, has used all the conventions common on talking dog movies to sell a feel good alternative in a period between super hero adventures and other franchise action.

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The $65 million opening weekend estimated by early tracking would be the lowest for the franchise since 2009’s Fast and Furious, but with the caveat that this is a spinoff entry in the series. To help the movie stand out in a summer dominated by superheroes and remakes — and keep the franchise on track until the next official entry — Universal’s campaign has focused less on the story and more on the reluctant — occasionally hostile — working relationship between Hobbs and Shaw.

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The star-powered promotional campaign recreates an industry era where foundational shifts were underway as major events like the Manson Family murders were leading to a loss of innocence.

This mix of fiction and non-fiction is tracking for an estimated $30 million-plus opening weekend. Not being part of a franchise or connected cinematic universe, the campaign has used Tarantino’s name recognition and the fact his movies are celebrated as cultural milestones among cinephiles as a brand hook on which the marketing is hung.

You can read the whole thing here.

A strategically timed “pulsed” campaign by the studio aligned its promotional beats with big cross-demographic cultural moments.

That campaign has included not only the usual mix of trailers, posters and advertising (billboards and social media) but an extensive collection of promotional partnerships and event appearances that sometimes break out of what’s usually found in movie marketing efforts.

You can read the whole thing here.

The studio has run a campaign that counts on both Bautista and Nanjiani being popular, attention-grabbing stars and that audiences are ready for a return of the buddy comedy genre that was so popular in the 80s. Tracking estimates an opening weekend between $7 million and $10 million, in line with movies like Late Night and Long Shot.

You can read the whole thing here.