Like Blade Runner 2049, Doctor Sleep (a surprisingly good sequel to The Shining that earned strong reviews but just $72 million on a $45 million budget) and Steven Spielberg’s West Side Story (which, artistic value notwithstanding, was sold entirely on the notion of audiences wanting another version of West Side Story) that pitch only works if you are damn sure that audiences want another one. That’s especially true when Matrix Revolutions ended with its primary conflict resolved and the two protagonists having died onscreen.Īnsel Elgort as Tony and Rachel Zegler as Maria in 20th Century Studios’ WEST SIDE STORY. #THE MATRIX 4 FREE#Spoiler free marketing is ideal if you know you can get them in the door (The Dark Knight, Frozen, The Force Awakens, etc.), but there is a difference between selling a narrative while leaving out key details ( Free Guy) or deceiving viewers ( Spider-Man: Far from Home’s multiverse tease/lie) and offering up a context-free montage (like Blade Runner 2049) that merely advertises that a given franchise has returned. Likewise, the spoiler-free marketing was meant to inspire confusion, even about things (like Yahya Abdul-Mateen II’s new Morpheus) that were explained early in the 148-minute film. The Matrix Resurrections was sold as “Another Matrix movie!” The spectacular first trailer only really works if one is already aware of the Matrix series and predisposed to want another one. spending $150 million on a LeBron James-starring Space Jam: A New Legacy was always a recipe for rate-of-return disaster. Conversely, Covid variables notwithstanding, Warner Bros. Likewise, Sony’s Ghostbusters: Afterlife is a modest hit at $120 million domestic/$177 million worldwide because it only cost $75 million. Like Sony’s Jumanji: Welcome to the Jungle (which cost just $90 million, making its $404 million/$962 million gross a genuine windfall), the fourth Jurassic flick was sold as and was embraced as IMAX-worthy whether you cared about the brand. #THE MATRIX 4 MOVIE#The film was sold as both a Jurassic Park legacy sequel and a true event movie (a big and colorful spectacle with Chris Pratt in kid-friendly mode and people being eaten by giant dinosaurs) for those with no interest in the IP. Universal’s Jurassic World ($652 million/$1.671 billion on a $150 million budget) was an exception to the rule.
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