This week is proving to be a monumental moment for failed movie marketing campaigns. Over at Deadline Hollywood Daily, Nikki Finke shares an insider’s look at the blunder of Summit’s Bandslam campaign, which is being blamed for the movie’s dreadfully disappointing bow. Meanwhile there’s the apparent mistake of Fox’s Avatar promotion, in which “overwhelming response” caused the film’s site to crash while people attempted to get free “Avatar Day” tickets for this Friday (we think it was all a ploy to attract more interest from markets where there’s actually little response and awareness, such as Denver). Throw in some spoiler spewing from The Time Traveler’s Wife’s Rachel McAdams, and it’s clear we’re seeing some terrible mishandling of film promotion lately.
The fact that District 9 did so well with its advertising and buzz only makes the blunders of this week seem that much worse. Plenty of reports around the web this week highlighted the contrast between the campaigns and performance of D9 and Bandslam (some people have also been contrasting the latter with The Ugly Truth’s marketing). But will the mistakes cause Hollywood to do better? Looking back at some past marketing errors, we can only assume not. Check out some of the worst movie marketing blunders (including one for a film yet to come out) after the jump.
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I’m going with a continuation of yesterday’s Bloggery, because the death of John Hughes has hit my generation very hard, and on the day after we’re getting more lists and more memories, including one particularly popular eulogy from the filmmaker’s pen pal, which is shedding some light onto Hughes’ reasons for leaving Hollywood.
One thing that I’m finding interesting about the reactions to Hughes’ death is that he’s yet another example of how, as David Poland wrote back in June, “death is the ultimate disinfectant.” Not that many people stopped loving his ’80s teen movies after the man stopped directing, but the world didn’t quite respect him as much after he focused on writing and producing such family fare as Baby’s Day Out, the Beethoven movies and some unnecessary remakes for Disney.
Hughes’ death may not be the huge media story that Michael Jackson’s was, but given his contribution toward the definition of the ’80s, his decline in the ’90s and his association with Macauley Culkin, it’s not a huge stretch for all those “first MJ, now…” comments going around. When you think of ’80s music, you likely think of MJ. Likewise, when you think of ’80s movies, you think of JH. At least we still have the most important ’80s TV icon. But we might want to say our prayers for Bill Cosby…
Check out the further tributes and such from the film blogosphere after the jump:
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If you want proof that John Hughes has still not been succeeded as teen movie king, take a look at the 2001 spoof Not Another Teen Movie, which references Hughes’ films more than any other, despite the fact that it’d been 14 years since the filmmaker had last given us one of his signature entries into the genre. Also see the marketing of last year’s American Teen, a documentary that was sold as a non-fiction version of The Breakfast Club, 23 years later.
There will likely never be another John Hughes, at least not in the way he defined a type of movie. And at the same time, as much as nearly every teen movie since his seminal six recognize his influence, few of today’s teen movies can even get away with or accomplish things his films did. It would be appropriate if we could name sixteen of these things present in Hughes’ early works that are absent from modern teen movies, but we’ve got half that number, and we’re hoping it’s enough to establish that his films were, for better or worse, of a certain time, despite the fact that they’re so timeless.
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John Hughes was probably my first favorite filmmaker, or at least the first I really knew by name and reputation. So I’m especially saddened by his death from heart attack today, at age 59. Ferris Bueller’s Day Off may no longer be my favorite movie of all time — actually attending high school somewhat ruined the teen mythology that exists in Hughes’ films for me — but it forever remains in my top ten list of titles I enjoy watching over and over again (even if I am critical of the musical number).
Because many of us film bloggers grew up religiously watching his movies, including those he scripted but did not direct, there’s a lot of shared memories and tributes popping up around the web this evening. Check out what people are saying about the legacy of the iconic filmmaker after the jump:
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From its animated notebook-scrawl opening credits to a final scene in which two people finally, effortlessly unburden themselves of a MacGuffin and just decide to be together, Nick and Norah’s Infinite Playlist (based on the young adult novel by Rachel Cohn and David Leviathan) seems to have been packaged in the hopes that the lightning that made Juno an unignorable commodity a cultural phenomena will strike twice. Nick and Norah isn’t quite the assault to the teen romance genre that Juno was, and that’s both good and bad. Michael Cera’s Nick, Kat Denning’s Norah, and their assorted pals drift fluidly between irony-as-defense and taking both themselves, and the idea of love, very seriously. The result is a film that’s much more of a traditional teen romance, but also a more honest one.
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