When you do a bit of reading about what freelance writers should do to be noticed and get the attention of editors and other potential clients, “start a blog” is usually near the top of the advice given.
As with a number of horror franchises, the Halloween series has taken various twists and turns since John Carpenter’s 1978 original introduced audiences to Laurie Strode and Michael Myers. Now, after seven sequels to that first film and a 2007 reboot from Rob Zombie that had its own sequel, director David Gordon Green and co-writer Danny McBride bring it back to the Laurie/Michael dynamic with the simply-titled Halloween.
This week has a wide variety of releases, from the dramatic story of humans reaching for the moon in First Man to the father/son drama of Beautiful Boy to the Halloween comedy of Goosebumps 2. Meanwhile, Bad Times at the El Royale enters a crowded landscape from left field.
Two weeks ago Disney CEO Bob Iger made it clear that Marvel Studios chief Kevin Feige would assume control of the cinematic futures of the X-Men characters after the company completes its acquisition of Fox. That would leave Sony as the only other studio to manage Marvel Comics characters as it retains control of Spider-Man, which it has loaned out to Disney a couple times now, and his cast of characters.
Tiffany Haddish hopes to keep up her cinematic hot streak by starring opposite Kevin Hart in the new comedy Night School, out this week from Universal Pictures. Hart plays Teddy Walker, a charismatic salesman who, after a professional disaster, winds up in night school along with a bunch of other misfits a...
To sell the post-World War II story, the studio has run a campaign that aims to capture the drama of the quest to bring a criminal to justice.
Faux PSAs, puppets reading mean tweets and a real-world version of a seedy bar from the Melissa McCarthy movie were created for the campaign.
For the fourth time in the last five years, director Peter Berg and actor Mark Wahlberg are teaming up in this week’s Mile 22. To sell the action drama, STX Entertainment has mounted a campaign focused on the deadly efficiency of the character played by Wahlberg and the rest of his crew.
Whatever the box office fate of The Meg — Warner Bros.' $150 million summer shark tentpole — it’s been sold to the public over the last several months with tongue placed firmly in cheek.
The box-office fate of movies based on young adult fiction has been somewhat uncertain of late. The $282 million domestic take of The Hunger Games: Mockingjay Part 2 was the lowest of the series stateside, while The Divergent Series: Allegiant’s $66 million in the U.S. had Lionsgate exploring moving the franchise from movies to TV. And The 5th Wave in 2016 only brought in $34 million in the U.S.
2018 has been a weird year for movie marketing. Overall theatrical ticket revenue is up, but actual ticket sales are down, with the increased revenue coming mainly from a handful of early-year releases. A handful of titles have been sold off by the studio that produced them to Netflix when it was determined the movies had limited box office potential. MoviePass’s organs continue to shut down one-by-one even as AMC Theaters and others launch their own subscription ticketing service.
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.
Universal focused on the singing and dancing (with a little bit of character mystery).
In 2008, Mamma Mia adapted the "jukebox musical" genre for the screen, wrapping a story of how Sophie (Amanda Seyfried) was trying to find out which one of her mother’s (Meryl Streep) former lovers was her father in the songs of Swedish pop band ABBA.
In a smart story on ScreenCrush in June, writer Matt Singer discussed some of the reasons this may be the case. In short: after a brief pinnacle where studios and fans enjoyed a happy medium of access and promotion, the crowds grew too big, more and more companies tried to establish a presence there and the cost of rising above the noise and getting people’s attention became too great.
Dwayne Johnson is back for more big-screen adventures in this week’s Skyscraper.
The Legendary and Universal movie, budgeted at $129 million, casts Johnson as a wounded veteran turned building safety expert brought to Hong Kong to evaluate a massive new building. He and his family are there at the same time the building is targeted by a group of criminals.