Friday One Sheet: A Most Violent Year

I am kind of in love with all the whiteness in this design. Jessica Chastain’s dress almost fading into the hill below witch she is facing a surprisingly sparse 1981 New York City skyline. At least I think it is Chastain on the poster, it is hard to tell with her back to us. She is there, also presumably with Oscar Isaac who is again likely trudging through the Big Apple in the snow.

I have no idea what the film is about, the large font tagline is vague, but intriguing, but I suspect it will be a chilly affair.

Friday One Sheet: Occultober Edition [Teen Lust]


How to get peoples attention? Combine two risque, push-button elements into a single poster. In this case it is teenage sex and satanism. The tagline however, give up the game indicating that this is some kind of comedy in the vein of American Pie meets Scream? That is to say, lose your virginity to take yourself off the table as a virgin sacrifice as as the fill in the title font suggest, burn in hell.

The film debuted at this years Toronto International Film Festival and thus, the website has more.

Friday One-Sheet: Summer of Blood will SUCK

I’m sure something like this has been done before; that is, using descriptive text to mimic critical review quotes. But I’m not sure I can recall any in which all of the text has a negative connotation. On top of that, it’s in a “haunted”, bloody font. Coupled with the disheveled (presumably) protagonist front and center, it’s a pretty inspired twist on the uninspired that have come before it.

I don’t know anything about this movie. The poster just showed up in my inbox this morning and thought it would be a lovely share. But the poster tells me exactly what this movie is: The 40 Year-old Virgin meets Dracula. It’s sure to be a romp.

Friday One Sheet: The City At Night


Undeniably the product of photoshopping separate elements together, this actually plays into the theme of the film, where Jake Gyllenhaal’s bottom-feeding videographer starts re-arranging crime-scenes to increase their ‘salable’ value to the local news channels.

Nice touches: The light-source on the end of the camera illuminate the title (and car accident debris), echoing the street lamps in the background. Also, all the power lines and transformers, bridges and street signposts indicate the infrastructure of what makes a town work, whether it is an eyesore or not. Nightcrawler is mainly shot in some of the more banal and ugly places of Los Angeles. In a subtle way, this poster indicates that while also contrasting it against the shiny new red muscle-car which features prominently in the film as the product (and enabler) of ill gotten gains from filming and selling the footage of grisly car accidents.

Friday One Sheet: Ultra-Wide Interstellar

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A new idea for key art? Two new quad-style posters for Christopher Nolan’s upcoming Interstellar (the other one is here) are significantly wider than normal. It implies a ‘big screen’ experience that syncs nicely with the upcoming advanced Imax/70mm release of the film.

The white suited explorers against a bleached snowy mountains is compelling, if not exactly original. It’s an interesting choice to market a space exploration adventure, the only implication of space being the graphics on the title in the centre of the poster.

Friday One Sheet: Miss Meadows


Ok, about 50% of movie posters seem to have someone brandishing a gun. So that is nothing new, but contrast the normal, with the particularly conservative floral print dress, and drop it on a blood red field, and yes, key art department, you have my attention. That, and Katie Holmes is headlining films again? Who knew.

Note the white book under her arm, a great detail, considering the story is about an elementary school teacher who moonlights as a vigilante. Who knows if the film will be any good (tone is key to these sorts of things) but the poster did what it should. It made me aware and kind of interested in the thing. The only thing detestable about this design is the upward pointing gun in the logo. With posters from The Drop, and Son of A Gun also featuring the up-pointed gun thing, it’s kind of getting over done.

Oh, and this earlier one, which kind of echoes how the South Koreans make their movie posters, might even be better.

Friday One Sheet: Extraterrestrial

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This cabin in the woods meets hostile aliens picture looks derivative and boring in almost every way, but I have to hand it to the key art team for crafting a concise, aesthetically pleasing poster that evokes both alien abduction movies, and the Evil Dead remake simultaneously. If the goal is to offer passers-by a glimpse what your film is with just a glance, this is how it is done, folks.

Friday One Sheet: The Duke of Burgundy

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A minimalist teaser poster for Peter Strickland’s follow up film to Berberian Sound Studio evokes the moth-imagery throughout the film, and also indicates that it is two women at odds with one another. The aesthetics of the poster could equally be for a play, a novel or a film, and true to that, so could The Duke of Burgundy. The keyhole notes voyeurism and puzzles, which are also at play in this deadpan S&M lesbian sex comedy. I hope I have your attention, because this film is very much worth seeking out.

Friday One Sheet

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In the vein of crime classics like Mean Streets and Infernal Affairs, Revenge of the Green Dragons follows two immigrant brothers Sonny (Justin Chon) and Steven (Kevin Wu) who survive the impoverished despair of New York in the 1980s by joining Chinatown gang “The Green Dragons”. The brothers quickly rise up the ranks, drawing the unwanted attention of hard-boiled city cops. After an ill- fated love affair pits Sonny against his own brother, he sets out for revenge on the very gang who made him who he is. From acclaimed Director Andrew Lau and Andrew Loo, and legendary Executive Producer Martin Scorsese comes a brilliant mix between a Hong Kong action film and a New York City crime thriller, portraying the never-before-told true story of “The Green Dragons”.