The Worst: The Amazing Spider-Man 2 (Sony Corp.):
For the record, The Amazing Spider-Man 2 opened with $91 million over its debut weekend and eventually went on to earn $708m worldwide. Even with a $255m budget and who-knows-how much for marketing, the Sony sequel will eventually make money in the long run. But the sequel’s reception did real damage to the Spider-Man brand, to the point where we’re getting various spin-offs before we get a proper Amazing Spider-Man 3. Much of the damage, I would argue, was a result of the marketing campaign, which made the fatal mistake of selling a movie that was inferior to the one being offered while spending more time talking up Amazing Spider-Man 6 than the better-than-I-expected Amazing Spider-Man 2.
Like The Amazing Spider-Man before it, Sony dropped so many trailers, teasers, clips, and television spots that they basically gave away 95% of the finished product before the picture opened on domestic shores. It’s something I complain about quite a bit, dropping oodles of spoiler-filled content online for the sole purpose of feeding the entertainment news cycle that mostly services those who were already planning on seeing the movie. Sony isn’t the only one that does this, but their campaign for Amazing Spider-Man 2, which needlessly revealed major third act plot turns and key action sequences, while teasing the one plot twist the fans demanded, was a prime example of the worst kind of saturation-level marketing.
I get the need to say on Monday morning that you “did everything possible” to goose up the all-important opening weekend, but I would argue that there is a point where over-saturation does more harm than good. General audiences didn’t need a Russian doll-type Super Bowl gimmick; they just needed one or two solid trailers that reminded them how much they liked Emma Stone and Andrew Garfield as an on-screen couple. But most importantly, their marketing emphasized not the lone buzzy element of the franchise reboot (the Peter Parker/Gwen Stacey romance) but an alleged deluge of super-villains that alleged attack the web-slinger.
The tagline, “His Greatest Battle Begins,” and the emphasis on setting up a Spider-Man vs. Sinister Six led to a marketing campaign that featured copious “not in the final film” footage regarding world-building while all-but-hiding Emma Stone. Sure enough, all-too-many critics reviewed the marketing campaign instead of the movie, complaining about “too many villains” while ignoring the fact that Electro was barely in the film and that the likes of Green Goblin and Rhino were basically book-ends. Sony took a perfectly okay Peter Parker/Gwen Stacey-centric sequel that audiences might have wanted to see and sold a super-villain team-up movie that A) didn’t exist and B) wasn’t nearly as enticing to general audiences.