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Among the films that got their biggest marketing push to date were Universal's "Robin Hood" and "Wolfman" as well as Disney's "Prince of Persia" (see below) and "Alice in Wonderland." To viewers, it may have seen more like "RobinWolfPrinceWonderland"--the trailers felt indistinguishable, all employing the same de rigeur fast-cut, night-shrouded phantasmagoria of violence and explosions that has been so thoroughly co-opted by the videogame industry that EA's "Dante's Inferno" ad may be confused along with the rest of them.

Now if it ain't broke, don't fix it, one could argue of the studios' marketing modus operandi, but that just doesn't cut it on advertising's biggest night heading into movieland's biggest season. Not one single film stood out because they hewed so closely to the tried and true, becoming instantly forgettable. Give "Wonderland" a slight break for Tim Burton's wondrously wacky visuals, but the images are already out on billboards, which dulls their impact. 

If any movie may have raised its profile it was the improbably advertised romantic comedy "The Back-Up Plan," which probably wouldn't have even tried to waddle its femme-targeted self into the Super Bowl mix were it not presumably steeply discounted to the host network's corporate sibling CBS Films. As if just seeing Jennifer Lopez in anything these days wasn't jarring enough, an otherwise potentially passable film got notice by doing something very simple: sticking the majority of its 30 seconds to one raucous scene in which a woman appears to be giving birth inside a wading pool. Talk about making a splash on Super Bowl night.