It’s a couple of years out at this point, but here and there you might still find a screening for Gangs of Wasseypur we’ve reviewed it twice and gave it a good tongue bathing on the Cinecast at one point.
The poster carried on the Bollywood color tropes but man is this thing ever brutal to look at. The vengeance and hilarity and brutality all spraying forth in bloody mayhem all at once is definitely striking and eye-catching. But the highlight on this poster of course is that our own Kurt Halfyard has the third quote on the poster. Alas, it’s his review quote over at those sons-of-bitches at Twitch Film, but it’s still exciting. Happy Friday all!
Japanese comedian Hitoshi Matsumoto specializes in delightful, deadpan movies. His previous efforts, Big Man Japan (aka Dainipponjin) and Symbol were both international successes, and great films as well. His latest is the bizarre S&M-dramedy, R100 that takes its title from the Japanese film rating system, indicating that nobody under 100 is authorized to view it.
Can a poster be dead-pan? I think the large amounts of text on this, and a woman in fetish-leather wear is both eye grabbing, and kind of self-deprecating at the same time. Good on you Drafthouse Films for capturing part of the spirit of this crazy film, without spoiling a darn thing.
OK, this is not exactly a movie poster for Inherent Vice, but the cover for the reprint of Thomas Pynchon’s source novel. It darn well should be a movie poster though. Los Angeles neon soaked nights, lots of colourful characters, all occupying the headspace of the central character, a side-burned and spacey Joaquin Phoenix. This is one of my favourite ‘posters’ of the year.
One of the original North American slasher films (freshly influenced from the Italian Giallos) turns 40 this year. Yup, Bob Clarke’s Black Christmas, in all its string-light, POV, Margot Kidder, Andrea Martin, Keir Dullea glory.
Designer Gary Pullin delivers a handsome one-sheet in three colours, Red, Black and White to celebrate this fact. Nice details like the sorority-house letters on the phone, the infamous suffocation scene, and an ominous crimson tree looming over the entire house.
This is how you get a teaser poster for an existing brand exactly right. Now coy images of pumpkins or mice sewing in the attic. This is marketing that cuts right to the heart of the story, get the princess in her sky-blue dress a bit of a rush to/from the ball with the iconic shoe right beside the title text. The only think that not perfect here is the lazy-typesetting, but you can’t always have everything.
By the way, this is the first I’m hearing about Kenneth Branagh directing a live action Cinderella movie for Disney. It’s a long way from Thor, but on second thought, not that long a way.
I have yet to see Kornél Mundruczó’s White God, but with the poster, and with the description of the story below, I wonder if there is any connection at all to Sam Fuller’s White Dog; other than being an anagram of the title. Either way, it is a compelling poster image, high angle, grim colouring and contrast, and about a hundred dogs at the feat, of what I’m guessing are the two protagonists and always nice to see Hungarian cinema making its way across the pond.
Thirteen-year-old Lili fights to protect her dog Hagen. She is devastated when her father eventually sets Hagen free on the streets. Still innocently believing love can conquer any difficulty, Lili sets out to find her dog and save him.
Back in 2009, when Enter The Void quickly rose to the top of my ‘best of the year’ list (and likely in the running for ‘best of the decade’ list), I made the blithe comment that the man should just retire himself, because HOW TO DO YOU TOP THAT? Well, 5 years later, I am more than happy to see another film come out, and in fine Noe fashion, it features an eye catching, provocative poster. Body fluids and indulgence and taboo breaking are clearly on the menu here. The teaser poster for Love is not a tableau style bit of marketing, like the recent character and group posters for Lars von Trier’s Nymphomaniac, this is right in close and personal to a threesome. Right in the mouth, in fact. And is that title image saliva or semen? Things could go either way.
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.
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 TIFF.net website has more.