More than a year ago that Marvel added an enigmatic Asterisk at the end of the title of ‘Thunderbolts*’, the film in which he recovers various antiheroes of the UCM to form team against a global threat in the absence of avengers. Despite the time elapsed, we could not find out the meaning of the symbol to the premiere of the movie in cinemas, being one of the best stored mysteries of the entire Marvelite cinematography.
But, once revealed to the spectators who have gone to the rooms in the first weekend of premiere, the company has not taken to publicly reveal the mystery and saucer the mystery, literally changing the title of the film in cinemas and advertising fences of the United States. If you have not seen the movie what we say below could be considered a spoiler, but Marvel is doing everything possible because you find out, so I doubt that the thing is surprised by surprise: ‘Thunderbolts*’ Now it is titled ‘*New Avengers’.
Although in Spain it premiered on Wednesday, April 30 because on May 1 and 2 they were holidays in much of the country, in the US and in the rest of the world the official launch of the film previously known as ‘Thunderbolts*’ occurred on May 2, and during its first weekend it has raised 74.5 million dollars in 4,330 North American rooms, a solid but not spectacular beginning, and 160 million dollars. Taking into account its budget, rumored around 180 million, the numbers do not give (they are almost 15 million less than collected by ‘Captain America: Brave New World’ at its domestic premiere), so Marvel Marketing machinery has gone to all three days after the release of the film.
When linking its main brand, ‘The Avengers’, to a film in which the protagonists do not have the pull of Marvel’s great heroes, Disney tries to attract an ‘clueless’ audience that has been disconnected from the UCM saga after the massive event that meant ‘Avengers: Endgame’, in what seems like an unprecedented advertising campaign … although it is not quite.
It is true that ‘Thunderbolts*’ is the film that has changed the fastest title after its premiere, but not the only one. Recently we have seen how another superhero film, ‘Dam birds (and the fantabulous emancipation of Harley Quinn)’, also changed its name during its passage through the movie theaters to ‘Harley Quinn: Poultry than that of the very ‘Star Wars’.
George Lucas was clear that ‘The Galaxias War’ was the fourth chapter of a much more ambitious story, but he could not put the coletilla until several years later. Now, if you are looking for the movie in Disney+, it will appear as ‘Star Wars: a new hope (episode IV)’. Something similar happens with another production of Lucas, ‘In search of the lost ark’, to which they added the name of its protagonist at the beginning so that it will be easier to associate the saga. Thus, today in Netflix you can find it as ‘Indiana Jones in search of lost ark’.
The director of ‘Thunderbolts*’ (or ‘*new avengers’), Jake Schreier, explained this surprising decision as follows: “It seemed logical that, if Valentina Allegra de Fontaine (Julia Louis-Dreyfus) tries to make a change of identity and sell the new avengers to the world, we could do the same,” he said in an interview with The Times. “Taking into account that Asterisk has been in the title for a year, we hope that it is not confusing, that it feels like something planned, something we have been building.”
The play can be profitable for Marvel if he gets the dreaded dowar film-evidence promises to join the entire UCM.
Large door or nursing? We will have to wait for at least a week to assess the all-in of Disney and Marvel.
Fran Chico is an expert in film and series, specialized in cultural dissemination and cinematographic criticism. He is critical recognized in Rotten Tomatoes and Filmaffinity. Although its favorite genre is terror, the same tells you about the new blockbuster of the Marvel UCM than an author’s film to claim the festivals circuit. There is no Netflix series, HBO Max, Amazon Prime Video or Disney+ that escapes its radar, deepening the catalog of each platform to recommend and analyze its best content.
Fran has been writing in frames for more than a year, but its beginnings date back to two decades ago in film forums and blogs such as planet clampa or movie. He was a founder and part of the Board of Directors of the Digital Publication of Criticism and Film Analysis Mutations Magazine and Member of the Association of Cinematographic Informators of Spain (AICE), the organization that awarded the fierce awards, as well as a voter of the golden blogs to the independent cinema. After studying the Master of Cinematographic Criticism of the Madrid School of Film (ECAM) taught by Caimán Cuadernos de Film, he has collaborated and/or covered as a specialized press for more than 10 years Film Festivals such as San Sebastián, Sitges and Filmadrid, interviewing along the way to directors, actors and relevant actresses of the national industry such as Penelope Cruz, Carlos Sau Armas, José Luis Rope or José Sacristán and International such as James Wan, Edgar Wright or Dario Argento.
His knowledge and experience have led him to be Fnac Spain’s film videoblogger and director and presenter of the Zinéfago Holocaust podcast, with more than 150 programs broadcast and available in which cinema and humor are mixed from a unique and original point of view.
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