Hype is the name of the game at Comic-Con. For fans, it's an early taste of what they'll see in theaters in a few months, a year, or even more. For studios, it's a hopes of planting a seed that will keep people talking until a movie's release. Put a trailer online, someone convinces themselves whether they're "in" or not based on their crappy computer screen. Put them in a high-end projection room with 10,000 screaming fans and, suddenly, the latest trailer for such-and-such sci-fi movie is on par with the Super Bowl half time show. It's fun to be excited, and at Comic-Con, everyone wins.
Does the tidal wave of buzz translate to business? Not always. Studios spend big bucks to showcase their upcoming slates, but occasionally, the stunts don't pay off. Here are a few high profile films that left Hall H the talk of the town, only to underperform by the time they arrived in multiplexes. What went wrong?
Sky Captain and the World of Tomorrow
Production Budget: $70 million
Domestic Gross: $37.8 million
Bold statements broadcast from Hall H are not uncommon. Their taken with a grain of salt, but that kind of praise is exactly what fans, and the studios backing the movies, want to hear. When premiered footage at Comic-Con in 2004, it was met with passion normally reserved for Best Picture contenders. As a writer of Joblo elegantly put it: "[Director Kerry] Conran has created movie magic here; Sky Captain and the World of Tomorrow is what we go to the movies for." Conran's unique sci-fi adventure took its cues from pulp magazines and films from the early days of the 20th century — an approach that hit all the right chords with genre buffs. But the throwback, that turned out to be more of an exercise in low budget special effects than a thrilling, Indiana Jones-style romp, wasn't easily swallowed by the masses.
Production Budget: $232 million
Domestic Gross: $200.1 million
An IGN writer sums up the reaction to the return of the Son of Krypton quite perfectly. "You will believe a man can fly…again. These words echoed in my head after attending the Superman Returns panel at the San Diego Comic-Con Saturday morning." Absence makes the heart grow fonder and twenty years had Superman fans young and old absolutely rabid for the debut of modern Supes courtesy of director Bryan Singer (X-Men). A nine-figure budget does wonders for a larger-than-life character, and all of Superman's flying heroics stunned the Hall H audience in 2005. The footage was beautiful — maybe too beautiful. Singer's version of Superman aimed for cinematic poetry rather than full-blown action mayhem, a take that might be up comic book purists, but not the audiences flooding multiplexes. Even with a $200 million take, Superman Returns flew under expectations (and really, profitable box office marks). Thankfully, that's not stopping Warner Bros. from attempting to recapture the magic and unleashing it at Comic-Con: the rebooted Man of Steel will premiere its first look on Saturday, July 14.
Production Budget: $130 million
Domestic Gross: $107.5 million
"If you thought the trailer was breathtaking, this was even MORE incredible than that," declared a writer from the blockbuster-friendly blog FirstShowing.net. Time named Watchmen one of the best books of all time, so it's understandable why a mere glimpse at more of the live-action translation of the 1987 graphic novel would have fans frothing at the mouth. This was the comic movie, and director Zack Snyder was sticking to the source material with precision. While Watchmen sent thousands of appreciative readers into a tizzy over the panels coming to life, Snyder's adaptation almost demanded a familiarity with the text. If you weren't a fan, Watchmen was too much to digest — critical acclaim or not. Think about it: would a Catcher in the Rye movie be a mega-hit blockbuster? Everyone has read it, but the demand isn't built in.
Production Budget: $200 million
Domestic Gross: $125.3 million
McG's fourth Terminator had all the makings of a Comic-Con friendly flick. A radical franchise shift that skewed to the ever-popular "dark, gritty" approach; a fanboy dream of a screenwriter, The Dark Knight's Jonah Nolan; a rising action star (Sam Worthington, Avatar) and a heralded keystone (Christian Bale); and most importantly, some kick-ass action footage. After the Charlie's Angels director screened his saturation-less robot mayhem for Hall H audiences, a Screenrant writer declared "I don’t think we need to worry about this one folks, it looks like it’s in good hands!" Everyone was on the same page: finally, a Terminator movie that pushes the envelope of its main conceit. All out war! But snippets proved more exciting than the final product, which underwhelmed summer audiences with its bleak palate. Maybe the only people who really care about Terminator mythology are Con-goers?
Scott Pilgrim vs. the World
Production Budget: $85 million
Domestic Gross: $31.6 million
For comic buffs or anyone that caught the first trailers to Edgar Wright's video game-inspired love story, Scott Pilgrim was already a highly-anticipated summer blockbuster. But Universal went all out to make Comic-Con their big publicity push for the film, bringing the entire cast to Hall H, showing off footage and holding a screening of the film for a lucky handful of fans. Positive reactions continued to grow as free screenings popped up between SDCC and the movie's August 2010 debut. But in comparison to the fervor of its Comic-Con premiere, Scott Pilgrim vs. the World came and went through theaters with little momentum. Many speculated that the movie was the perfect Comic-Con film, playing directly to that audience's sensibilities, and that by the time it hit theaters, everyone who had wanted to see it had.
Production Budget: $200 million
Domestic Gross: $172.1 million
Disney's Tron Legacy holds a unique record: the film appeared for Hall H presentations three times before being released. A short visual effects test played in 2008 to thunderous applause. The reaction spurred a greenlight for Disney and director Joseph Kosinski. In 2009, the footage returned updated and in glorious 3D, along with a fully constructed "Flynn's Arcade" built out in downtown San Diego. Finally in 2010, a full panel with footage and stars arrived to SDCC. The energy of the audience was consistent all three years — but in the end, the movie never captured the masses the same way it did with eager Con attendees. Overexposure is a possibility, but the world of Tron may have been better suited for effects-driven teases rather than a two hour narrative.
An enthusiastic reception at Comic-Con didn't translate to box office success for the above films, but that doesn't change the fact that many of the fans who did catch these movies in theaters were satisfied. The cries of fandom are tricky; they can pique the interests of general moviegoers when privy to the right material, but they can also be an echo chamber for a niche audience.
On the positive side, San Diego Comic-Con have played host to a number of hits that started their campaign for audience eyes in the excited chaos of Hall H. 300, Iron Man, Avatar, Sherlock Holmes, Pirates of the Caribbean: On Stranger Tides, The Expendables, The Resident Evil franchise — all planted seeds at just the right moment, reaping the benefits of an early campaign when it finally came time for their theatrical run. Timing, mass appeal and showing off just the right amount/type of footage is all key.
Box office and budget statistics provided by Hollywood.com Box Office Analyst Paul Dergarabedian
Follow Matt Patches on Twitter @misterpatches
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[Photo Credit: Paramount Pictures, Warner Bros. Pictures, Universal Pictures, Walt Disney Pictures]
In 1930s New York Chronicle investigative reporter Polly Perkins (Gwyneth Paltrow) gets a lead on a story she's been covering about prominent scientists from around the world who are mysteriously disappearing. When Manhattan is attacked by giant robots Polly reluctantly seeks the help of an old flame ace aviator Captain Joseph Sullivan aka Sky Captain (Jude Law) to get the scoop and find out who's behind these strange events and discovers an Oppenheimer-type science man named Dr. Totenkopf has abducted the scientists in a mad bid to build a doomsday device to annihilate what he believes to be an already damned human race. Assisted by Captain Franky Cook (Angelina Jolie) who runs a secret mobile airstrip thousands of feet in the air Sky Captain and Polly head out to stop Totenkopf and save mankind. How could such a visually dazzling film where the fate of the world rests on the shoulders of three dashing Hollywood stars be so ... unexciting? Much stronger storylines could have evolved from supporting players Dex Sky's right-hand man (Giovanni Ribisi) and especially daredevil Franky and her amphibious squadron all of which are used too sparingly throughout the film.
Paltrow in the lead role of Polly completely captures the witty rapid-fire dialogue of the era immortalized by Rosalind Russell in His Girl Friday. But while her performance is nearly flawless Polly's self-centeredness turns the would-be heroine into an antagonist; it's hard to like a character who can't put humanity's needs before her own career ambitions. Polly's rabble-rouser persona should bring some exciting tension between her character and Sky Captain's Boy Scout guise but it doesn't--in fact there's a complete lack of chemistry between the two leads. But Law's performance as Sky Captain brilliantly matches Paltrow's as the actor encompasses the new-yet-old type of movie hero one more suave than macho. Less platonic however is the on-screen relationship between Law's Sky and Jolie's Franky. The script's purposefully ambiguous take on the characters' history adds spice to the film's otherwise bland relationships. It's too bad Jolie's performance probably the highlight of the film isn't brought more to the forefront. Ribisi injects some light comedy to the heavy story and Omid Djalili impresses as Kaji a friend of Sky Captain's who helps them during a leg of their journey to find Totenkopf. To their tremendous credit all the cast members delivered seamless performances especially considering all their scenes were shot in one room using a blue screen.
The production behind Sky Captain and the World of Tomorrow is what this film is really all about. Based on a six-minute test reel created on his home Mac writer/director Kerry Conran was able to nab studio backing and secure major names--not shabby for one's feature debut. The final product delivers too--a retro sci-fi picture where nearly everything onscreen except for the actors was painstakingly computer generated in post-production. It's amazing how the actors blend flawlessly into the film's animatic backdrops. Every shot makes the most of its visual effects and the film has a dark and dramatic comic book feel a sort of Gotham meets War of the Worlds. Conrad pays homage to literary masters such as H.G. Wells New York's 1939 World's Fair and films including The Wizard of Oz: Sky Captain tracks down Totenkopf like Dorothy searched for her sorcerer and although they are not in Kansas and there is no yellow brick road there is a mysterious genius hiding behind the curtain. But unlike Wizard of Oz Sky Captain doesn't hold its momentum. There's a chase scene for example that goes on way longer than it should have and an overly weighted storyline about Polly and Sky Captain's defunct love affair. Did he cheat on her when they were together years ago? Did she sabotage his airplane? Who cares! Luckily the ending somewhat redeems the story thanks to a couple of surprising little twists.
Glenn Quinn, the 32-year-old actor who is best known for his recurring role on the hit TV sitcom Roseanne, was found dead in his apartment Dec. 3 in Los Angeles. WashingtonPost.com reports authorities are saying Quinn's death could possibly be attributed to a drug overdose but medical evidence is still pending. Quinn joined the cast of Roseanne in its third season as older daughter Becky Connor's boyfriend/husband Mark. He also co-starred on the TV drama Angel, a spin-off of Buffy the Vampire Slayer.
Nicole Kidman may be heading back to the London stage. After baring it all, literally, four years ago in David Hare's The Blue Room, Kidman is now in negotiations to star in Henrik Ibsen's The Lady From the Sea for director Trevor Nunn.
Veteran vintner Francis Ford Coppola will drink no wine before its time. The Godfather director will plunk down a cool $31.5 million for the Cohn Vineyard in Napa Valley, Calif., winning the bid over competitor Robert Mondavi, the San Francisco Chronicle reports. The Cohn Vineyard is renowned for its excellent conditions that create some of the world's best cabernet.
Spanish director Pedro Almodovar and his newest film Talk to Her were the big winners at the European Film Academy Awards Saturday. The film, about a man's relationship with a comatose woman, won best film with Almodovar taking the award for best director. The 15th annual awards ceremony was held in Rome, Italy.
The Talented Mr. Ripley co-stars Jude Law and Gwyneth Paltrow are set to reteam for The World of Tomorrow, a big-budget sci-fi thriller for first-time writer/director Kerry Conran. Paltrow will play a reporter and Law a pilot in the film, which is set at the turn of the 20th century and is in the same vein as Raiders of the Lost Ark, according to The Hollywood Reporter.
Alec Baldwin, who starred in 1999's Outside Providence, has decided he'd rather be inside the Rhode Island city than outside of it. He is in negotiations to co-star with Matthew Broderick in Providence, a film about a young filmmaker (Broderick) who gets funding to make a film from a mysterious source (Baldwin) on the condition he shoots the film in Providence, R.I. The filmmaker eventually discovers the "producer" is really an undercover FBI agent.
After a brawl in Munich, Germany, which forced them to cancel two shows, the British rock band Oasis returned to the stage Sunday in Wales to finish their European tour. Lead singer Liam Gallagher, who lost two teeth when he and other band members got into a fight with some Italians at a hotel bar Dec. 1, had his teeth repaired to continue the tour.
Guess Eminem is going to have to change some of his lyrics about his wife, Kim. According to PageSix.com, the bad-boy rapper's grandmother, Betty Kresin, confirmed that he and Kim are back together. "They're back together," Kresin told PageSix.com, "and I think Marshall [Eminem's real name] is very happy about it."