The 10 Most Memorable Movie Ad Campaigns of 2017

A rough year for Hollywood, but an inventive one for its marketing

The quirky Colossal, starring Anne Hathaway, earned praise for its heart and dark sense of humor.
Headshot of Chris Thilk

2017 was a rough year for Hollywood at the box office. Based on actual tickets sold, it was the worst theatrical summer since 1992 and the worst overall year since 1995.

Star Wars: The Last Jedi closed out the year on a strong note, bringing in $522 million domestically to quickly become the highest grossing film of 2017, surpassing Beauty and the Beast. There were other strong holiday releases. Families turned out for Jumanji: Welcome to the Jungle. The Greatest Showman overcame disappointing reviews to gross almost $50 million so far. And Pitch Perfect 3 ended the trilogy with a good theatrical showing.

Still, it wasn’t enough to reverse the growing trend that moviegoing just isn’t what it used to be. Theater owners are scrambling to make moviegoing a premiere, luxury event focused on effects-heavy blockbusters, while people increasingly prefer to view literally everything else from the convenience of home.

The weak box office comes, though, in a year that had some of the most interesting and unique movie marketing in recent memory. These campaigns may not have always led to massive success, but many were innovative and inclusive in making a pitch to an audience of moviegoers that’s increasingly female and non-white. They sold mysteries to be unlocked and discovered, or simply promised a good time at the theater.

So, presented in no particular order, here are some of 2017’s most memorable movie marketing campaigns.

The Lego Batman Movie

At every turn, Warner Bros. promoted The Lego Batman Movie as being both part of the character’s 75-plus year legacy and something completely unlike what had come before. After the character, voiced by Will Arnett, broke out in 2015’s The Lego Movie, it was inevitable he would get his own movie. The campaign made it clear it would be more than just a cash grab (cough, Lego Ninjago Movie, cough) but something with humor that would appeal to all audiences and be a welcome, lighthearted change from the super-dour Dark Knight of Batman v Superman the year before.

Get Out

The first trailer for Get Out dropped just a few months out from its February 2017 release and largely took people by surprise. What was this horror movie written and directed by Jordan Peele, best known as one half of Key and Peele? The campaign kept many of the story’s twists and turns hidden, turning the movie into as much of an event as any superhero franchise blockbuster. Not just that, but it prompted numerous discussions about racial attitudes, in part because the protagonist, played by Daniel Kaluuya, is shown dealing with the kind of subconscious racism and resultant microaggressions from white people that are all too common. All that wound up making the movie 1) the highest-grossing debut film based on an original screenplay of all time, 2) the second highest-grossing R-rated movie of all time and 3) the most profitable movie of the year, making $175 million on a budget of just $4.5 million.

Colossal

It’s pretty likely you missed Colossal when Neon released it in April. The story follows Gloria (Anne Hathaway) as a woman whose life is not all together by any means who one day realizes she somehow controls a giant kaiju that randomly appears in Tokyo. It wasn’t a massive campaign, and it certainly didn’t reach a mass audience. But it sold a quirky, original film accompanied by strong word of mouth earned from festival screenings, which praised both its heart and dark sense of humor.

Wonder Woman

One of the best of 2017, the Wonder Woman campaign ran on all eight cylinders from the moment the first trailer dropped at Comic-Con 2016. In selling the first solo film featuring a female superhero, Warner Bros. not only brought the action audiences expect from the genre but also a clear presentation of the character as one motivated by love and compassion. Anyone not moved by Diana’s proclamation to protect the innocent or who didn’t get chills as she walks alone out of the trench to face the opposing army on her own is … just wrong. They’re just wrong. It was a ray of hope in a world that needed a woman to lead it.


@ChrisThilk chris.thilk@gmail.com Chris Thilk is a freelance writer and content strategy consultant in the Chicago suburbs. You can find him at ChrisThilk.com, where he shares his thoughts on content marketing, media and movie marketing.
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