Whose Fault?

I was thrice subjected to the trailer for The Fault in Our Stars while watching Hell's Kitchen on Hulu the other night. I say "subjected" because to be honest, it seems a bit cloying to me. I guess that's inevitable in a movie about a teenage girl who has a terminal illness. (At least, I assume it's terminal, probably cancer.)

What I can't figure out is whose Fault it is.

Is this a Nicholas Sparks-type movie about young love that is almost always set against the backdrop of somebody dying, or in danger of dying? I'm thinking something like A Walk to Remember.

Or is it a more indie-focused approach to the topic of a young person stricken before his/her time? Something like 50/50?

Regardless of which type movie it is, I'm not likely to be very receptive to it, since I found both A Walk to Remember and 50/50 to be major disappointments.

I suppose it looks advertised a bit more like a Sparks movie, but the title is what gives me pause -- it's a bit hifalutin for a teenybopper movie. I suppose I also think of Shailene Woodley as someone with higher standards than Nicholas Sparks-type movies, though she was just in a very teen-oriented movie this year (Divergent).

And then because of Woodley's presence I am also thinking of The Spectacular Now ... which I also found disappointing. Did I mention I also don't really like The Descendants? Maybe Woodley just doesn't really work for me, even though I consider her an objectively talented actress. (Of course, if I consider her a good actress, that's a subjective position, not an objective one ... though I suppose what I really mean is that I feel like her talent is not debatable, making it objective.)

Jesus, where was I?

So yeah, I'm not going to be rushing out on this one. That's just as well considering the list of other movies I have to catch up with as a result of using my last theater trip on a movie (Captain America: The Winter Soldier) that had already been out for two months. Shall we?

Godzilla
X-Men: Days of Future Past
Edge of Tomorrow
Neighbors
Under the Skin
The Double

Yeah, my head is starting to ache.

Building a brand

Another Nicholas Sparks movie hits theaters today.

If you don't know who Nicholas Sparks is, you're obviously not a big fan of romance novels, God, and movie posters with two people holding each other lovingly.

Nicholas Sparks writes the kind of books you might attribute to someone like Danielle Steel. Well, that is, if you don't know much about Danielle Steel, which I didn't until I just looked her up. I guess her characters are more like soap opera characters, rich and frivolous. Sparks instead concentrates on a more wholesome brand of threatened love among mostly young people, and often in gorgeous settings. Beaches and other bodies of water seem to be a recurring theme. Oh, and did I mention God? Christianity creeps its way into most of his work, but, having seen only two of his films, I don't remember it hitting me over the head.

One big advantage Sparks has over someone like Steel -- his books actually get made into theatrical releases, rather than TV movies.

Dear John is the fifth movie -- from the fifth different director and fifth different screenwriter/screenwriting team -- made from a book written by Sparks. And those movies have had such a similar advertising campaign, one can only refer to it as brand building. Let's consider the other ones, in the order of their release:



Notice any similarities? It's almost a full circle thing with Message in a Bottle and Dear John, but the positions of the genders are reversed, it's a slightly different time of day, and it's a slightly different camera depth.

I've only seen A Walk to Remember and The Notebook, and I reviewed The Notebook. A Walk to Remember is terrible, and The Notebook is actually good. (That may be the difference between starring featherweight Shane West and Mandy Moore vs. starring heavy hitters Ryan Gosling and Rachel McAdams). My wife and I also like to joke about Nights in Rodanthe, specifically, the way the word "Rodanthe" sounds super harlequin to us.

The interesting thing about the Sparks brand is that it crosses several studios in addition to the different directors and writing teams. While Warner Brothers did release three of the movies (Message, Walk and Rodanthe), The Notebook is from New Line and Dear John is from Screen Gems.

What's interesting also to me is the modesty of these films' aspirations. They are almost intentionally niche, either intended as an alternative for teenage girls who consider Twilight too pagan for them, or in the case of Rodanthe and Message, for middle-aged women who love a good weepie. Yet somehow, they make remarkably consistent money, meaning almost 100% of the niche must patronize these films. Speaking in domestic totals only, Message in a Bottle made $52 million, A Walk to Remember made $41 million, Nights in Rodanthe also made $41 million, and The Notebook was (deservedly) the king with $81 million. Given the relatively small budgets for these films, that makes them all hits.

Don't be surprised if Dear John follows suit. In Amanda Seyfried and Channing Tatum, they've got two young stars who are familiar enough to put asses in the seats, but still fresh enough faces that they don't demand huge salaries. Having Tatum's character back and forth from Iraq also gives the film a sense of immediacy that will please a second target audience -- the audience that thinks it's too intelligent for romance movies.

Stay tuned, because the sixth movie based on a Sparks novel -- The Last Song -- is due out in just two months. Care for a sneak peek at the poster?