I’m not sure if we’ll actually get any major movie commercials during this year’s Super Bowl due to the ever-fluctuating release dates. No one wants to spend $ 5.6 million on a 30-second spot for a movie that might get delayed, although it is still worth plugging in a big movie, even one that might open later than expected, ahead of around 100. million viewers (in North America alone). The last years of great Christmas movies (three Hobbit prequels four Star wars movies and Aquaman since 2012) has toned down the appeal of a “first look” preview during the big game. You can get tons of captive eyeballs for seated moviegoers friendly for the force awakens Where An Unexpected Journey.
Nonetheless, we’ve still had our dose of pre-game / in-game / post-game commercials peddling what each studio is hoping to be among their biggest films of the first half of the year. I can only speculate on what might be announced this Sunday evening. Netflix is “anything goes,” WB hasn’t bought any Super Bowl commercial time since I believe 2005, and Disney can choose to plug in Disney + content as opposed to theatrical releases. Instead, I’m going to review the best Super Bowl movie commercials of the past 25 years. And now, without further ado …
Independence day (1996)
“Enjoy the Super Bowl. This could be your last.
It wasn’t the first time a major movie has sold during the Big Game. it wasn’t even the first glimpse into Roland Emmerich and Dean Devlin’s epic alien invasion. I vividly remember seeing a teaser for this film in theaters in December 1995 (Cut-throat Island?) or early 1996 (12 monkeys?), but Fox spent $ 1.3 million on that “aliens blow up the White House” teaser and kicked off the era of big blockbusters for animated Super Bowl commercials. Thanks to decent reviews, a lively premise, an eclectic cast (Will Smith, Jeff Goldblum and Bull Pullman) and a sense of scale unthinkable at the time outside of a Star wars movie, Independence day brought in $ 100 million in domestic revenue in the first six days, amounting to $ 306 million in domestic revenue (behind only HEY., Jurassic Park, Forrest Gump, The Lion King and Star wars) and $ 821 million worldwide (behind jurassic park). With $ 634 million in adjusted gross receipts, it remains the third-biggest “Super Bowl peddling” outing behind just the last two. Avengers movies.
Austin Powers: the spy who fucked me (1999)
“If you see a movie this summer … see Star wars! “
For whatever reason (mutually assured destruction?), Movie studios don’t tend to challenge or hustle each other in terms of selling their respective movies and TV shows. There are a few exceptions, like when Lucasfilm released a Godzilla-ish teaser poster stating “Plot Does Matter” just after Godzilla debuted with lousy reviews and a smoother-than-expected box office. This Episode one mockery is the exception rather than the rule. Speaking of The phantom menace, this quick advertisement for Austin Powers: the spy who fucked me was surprisingly aware of the pecking order that summer. Framed as a Star wars preview, this Dr. Evil-centric spot bluntly admitted that it was, at best, the second most anticipated movie of the May-August period. Mike Myers’ breakout sequel (it earned more in its opening weekend, $ 57 million, than International mystery mannational total of $ 53 million) would have been the second biggest earner of the summer ($ 206 million) without the smash hit of M. Night Shyamalan The sixth sense ($ 292 million).
Note: Since I couldn’t find the Super Bowl spot, this is a theatrical trailer that develops the same joke. It’s the same gimmick, just a longer pitch.
Batman begins (2005)
“This summer… evil fears the knight!
Warner Bros. ‘ marketing for Chris Nolan’s initial Black Knight the adventure had been muted and introspective, offering simple glimpses of world-weary Bruce Wayne, Christian Bale, and the Batman he would ultimately become in the middle of an actual city of Gotham. Comparatively, that 30-second commercial for the Super Bowl, the first and last time a Batman movie would buy time during the big game, tossed caution and subtlety to the wind. We got our first glimpse of the Batmobile (“Does it come in black?”), A glimpse of Cillian Murphy’s scarecrow burlap sack, and our first really good look at the Caped Crusader himself. . It might be a slim competition, but this clip also features the best ever catchphrase for a Batman movie (see above). It was an energetic and exciting boost to the marketing campaign, while also promising that this new Batman movie would always be a shameless popcorn adventure. This commitment to providing both thrills and gee-whiz blockbuster entertainment is a key combo that too many would-be copiers have missed when trying to create the next. Batman begins Where Black Knight.
Fast Furious (2009)
“New model, old parts.”
In a biased way, Universal’s campaign for Fast Furious invented fabricated nostalgia as we know it today. This Super Bowl commercial sold the main variable, namely the reunion of Vin Diesel, Paul Walker, Michelle Rodriguez and Jordana Brewster from the first Fast Furious after two follow-ups that looked more like spin-offs than sequels. The quartet hadn’t exactly found the mega-star in the eight years since The Fast and the Furious, the idea of their reunion could well have been an admission of defeat. Universal turned a proverbial tragedy into a marketing triumph, with the slogan “New Model, Old Parts” successfully creating a strange nostalgia even among moviegoers like me who had (at the time) never seen any of the previous ones. Fast Furious films and had no strong feelings for Justin Lin or Sung Kang’s Han Seoul-Oh, somehow resurrected. A $ 71 million opening weekend in early April proved that you can get quite a few people to claim something they didn’t even know they wanted, which is the very definition of brilliant marketing.
Super 8 (2011)
How dominant was Paramount in 2011? They not only gained global market share, they both have nearly every major blockbuster franchise movie (Captain America, Thor, Transformers: Dark of the Moon, Kung Fu Panda 2) and they had the “anti-blockbuster counter-programming” in the form of JJ Abrams’ sci-fi / horror tribute to the Amblin era. As a surprise tease for the melodrama of the 1980s alien invasion, the advertisement for Super 8 stood out as a non-franchise film starring real humans in a predominantly real world, a film that stood out as an old school summer movie amid superheroes, robots and wizards . Yes, Paramount was selling the disease and the cure, much like the Paramount plot Mission: Impossible II. Ironically, the film was only moderate success ($ 260 million on a budget of $ 50 million) in part because of the first wave of conventional blockbusters (Fast Five, Bridesmaids, Kung Fu Panda 2, X-Men: First Class) turned out to be exceptionally good. Ten years later, it’s a reminder that Abrams doesn’t need the Cloverfield IP to weave a story of wonder.
Iron man 3 (2013) and Captain America: The Winter Soldier (2014)
Yeah, I’m cheating a bit, but it feels like the last time Marvel really had to scramble to sell their big potential blockbusters. This is not a review, but rather that Shane Black is unique and distinctive Iron man 3 and the Russo’s ‘Tom Clancy Meets Sydney Pollack in Tights’ action sequel, combined with the guardians of the galaxy, has made the MCU the dominant and most trusted brand in Hollywood. It’s not like the last two Avengers films needed a tough sell. These two 30-second clips led to longer theatrical trailers that were immediately available online, but the two short ads got the job done. Iron man 3 teased the film’s best sequence (the flight rescue of the ‘silver barrel’) in a ‘short scene as a teaser’ format reminiscent of The Lion King and Fantastic Four: Rise of the Silver Surfer. The Winter Soldier evocatively put an action-packed wordless tease to a minor variation of “The Star-Spangled Banner.” Both were such strong points that the respective full trailers (above all The Winter Soldier) were downright redundant.
Pirates of the Caribbean: Dead Men Tell No Tales (2017)
“A pirate’s life for me.”
Disney must have made a slight “hard sell” when it comes to its fifth Jack Sparrow adventure. On foreign tides grossed $ 1 billion worldwide but was, uh, very bad, and Johnny Depp had become (enough or not) damaged merchandise as a result of domestic violence allegations the year before. The first teaser for Dead men don’t tell stories didn’t feature Sparrow at all, focusing instead of Javier Bardem’s evil Salazar. The Super Bowl commercial was selling a dark and perilous supernatural thriller on Johnny Cash’s “Ain’t No Grave” (hey, if Cash was working for Logan…) And presenting only one scene of Sparrow ironically (or symbolically) covered from head to toe in mud (or excrement). Without the benefit of the doubt, the initial pitch was an exciting, big-budget, human-scale pirate adventure fantasy that turned out to be another Pirates of the Caribbean movie. It sort of worked, earning $ 177 million domestically and $ 792 million globally. It was / is the biggest total for a film with less than $ 200 million in domestic revenue and much better than Transformers: The Last Knight ($ 130 million / $ 605 million) the same summer.
Mission: Impossible – Fallout (2018)
“I find it better not to look …”
The full teaser for this sixth Impossible mission The film, which debuted at the same time as the Super Bowl commercial, was the best trailer of 2018. But it’s nonetheless impressive to see how many good things (Tom Cruise’s Ethan Hunt injured himself multiple times, the infamous “arm-arming” of Henry Cavill, Angela Bassett, Vanessa Kirby and Rebecca Ferguson, the climactic helicopter battle staged in a way that doesn’t quite spoil the villain’s reveal in the second act) was only included in the 30-second ad. This is partly why it was the most popular spot on the night even during a match which included lively (and also very good) advertising for Solo: A Star Wars Story (which was followed the next morning by a relatively dull trailer) and Netflix announces this The Cloverfield Paradox was going to make his debut immediately after the game. This led to the, uh, very dull Cloverfield Paradox, but I digress. The point is, even in the midst of fantastic IP and streaming gadgets, sometimes you can’t beat a trust mark and an ad for a movie that looks utterly spectacular.