Let’s say that you’re Joel Schumacher.
With the glories of The Lost Boys and Falling Down far behind you, you’re now facing the one-two punch of failure that was 2007’s laughable psychological thriller The Number 23 and 2009’s barely-released occult outing Blood Creek. You decide to keep it real by adapting the novel of a twenty-something literary darling, written when he was seventeen and all about kids of that age. You cast with plenty of fresh faces — Chace Crawford, Emma Roberts, Rory Culkin, Fitty Cent — and once you’re done, you take it to Sundance…
…where they piss. all. over. it. The golden shower clouds bear a silver lining, though; Ebert’s a supporter and upstart distributor Hannover House has forked over a reported $2 million to give your baby a North American release. Hell, if you’re really smart, you’ll insist that the theatrical cut will be tweaked and trimmed and all sorts of improved, but once it actually comes out, the running times will appear to be virtually identical. Differences, schmifferences!
The only problem with that is, well, Hannover House hasn’t really given anything a theatrical release before this year, and once they finally settle on a release date (this Friday), the publicity machine finds itself strapped for attention and naturally reaches out through social networking (in this case, Facebook) in order to give the film the appearance of a higher rating elsewhere (in this case, IMDb), even though very few users have actually seen the film in question.
Maybe holding press screenings to earn perhaps more generous reviews (if not free advertising) would’ve worked. Perhaps getting your trailer attached to any other movie currently in release might’ve been smart. But holding your breath for the freakin’ IMDb rating to dictate audience and media interest? Who knows, Pajiba could always post something about it. That’s publicity… right?
Let’s just say that - for your sake - I’m glad you’re not Joel Schumacher right now.
(Source: The Playlist)