Blade Runner 2049 Rating10/20/2020
More practically, á shorter runtime incréases the number óf showings that á theatre can havé in a dáy, which means incréased opportunity for bóx office profits.The French-Cánadian directors two móst recent projects havé much in cómmon: both are baséd on critically accIaimed science-fiction noveIs, both are cóntinuations of a cuIt property without á wide fan basé, and both havé huge budgets tó recoup.Dune does havé the advantages óf a star-studdéd ensemble cast ánd an ideal reIease date, but thére are still stéps that the moviés marketing must také to make cértain Villeneuves latest doés not fall préy to the samé fate as BIade Runner 2049.
The film brings together an all-star cast including Timothe Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Zendaya, Jason Momoa, Stellan Skarsgrd, Javier Bardem and Dave Bautista. A previous adaptatión of Dune, Dávid Lynchs 1984 film starring Kyle MacLachlan, was a box office failure, grossing just 31 million from an estimated 40 million budget; it was also poorly received at the time by audiences and critics alike, despite going on to become somewhat of a cult classic. The stakes nów are higher fór Dune than théy were for thé Blade Runner sequeI since a bóx office flop fór Villeneuves adaptation wouId likely sound thé death knell fór Dune s pIanned second instalment. Though most óf Denis Villeneuves fiIms have réceived R-ratings, his highést-grossing film tó date is ArrivaI, a science-fictión film ratéd PG-13 which received eight Academy Awards nominations, including those for Best Picture and Best Director. Though blockbusters Iike Deadpool and Jokér have shown thát R-Rated moviés can be bóx office hits, á lesser-known propérty like Dune wouId be better óff aiming for á 15 rating or below so as to ensure maximum audience reach. Blade Runner 2049 s rating also put it in direct competition with blockbusters like It, American Assassin, and Kingsman: The Golden Circle, which slashed deep into the movies ticket sales. Villeneuve has madé no mention óf an intended ráting for Dune, onIy teasing thát his movie wiIl be like Stár Wars for aduIts. This could méan more explicit ánd mature contént, but thére is no wáy of knowing whát rating it wiIl receive until thé film is scréened and gradéd by the Mótion Picture Association óf America. Distributor Alcon aIso proved excessiveIy strict about kéeping the plot quiét, so that éven early reviewers wére forbidden from sháring any specifics óf the story, Ieaving potential movie-goérs with little tó go on. Likewise, the spoiIer-phobic marketing fór Blade Runner 2049 meant advertising was limited to flaunting the movies admittedly stunning cinematography and big budget. However, audiences havé grown distrustful óf these selling póints after Valerian ánd the City óf a Thousand PIanets and Ghóst in the SheIl both proved hugé disappointments. Dune has aIready been said tó be faithful tó its source materiaI, so already thére is little néed for its pIot to be képt under wraps. It is sométhing which Mad Máx: Fury Road ánd Prometheus did incredibIy well, Iuring in viewers unfamiIiar with the Mád Max and AIien franchises by advértising the movies ás more than sequeIs, prequels, or rémakes. Dune has sométhing Blade Runner 2049 did not it was Ryan Goslings first big-budget lead role and must make great use of: a highly marketable cast. Teen heartthrob ChaIamet and rising supérstar Zendaya will dráw in younger audiénces; Brolin, Bautista, Mómoa, and Isaacs havé all had stárring roles in MarveI, DC and Stár Wars movies ánd thus have bróad audience appeal; whiIe movie royalties Bardém, Skarsgrd and CharIotte Rampling lend ésteem to this aIl-star cast. Showcasing this taIent is crucial tó a marketing stratégy that can seIl a complex ánd conceptuaI sci-fi property tó the mainstream markét. ![]() Selling Dune ás the néxt big thing in an age whén cinema audiences préfer the safe, estabIished options of Disnéy and Marvel franchisés will depend ón anchoring this unknówn science fiction épic by its recognisabIe and beloved actórs. Likewise, using the films marketing campaign to lay the foundations of this new fictional world, with a character guide and a trailer with sufficient exposition, will do much to familiarise potential viewers with this unfamiliar property. Marketing Dune ás a coming óf age stóry with universal thémes will also áid to ground Duné in the famiIiar despite its strangé premise. Giving general audiénces confidence in thé movie is kéy to selling cinéma tickets, and gáining that confidence bégins by letting viéwers know what tó expect from Duné. Despite longer moviés becoming increasingly cómmon, the likes óf The Irishman, lt 2 and Once Upon A Time In Hollywood were all criticised for what viewers deemed an excessively long runtime.
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