A clever mash-up, in which prolific artist, The Dude Designs, takes the classic poster for Mel Brooks’ Universal Monster satire, Young Frankenstein, and massages it into the current blockbuster landscape with Victor Frankenstein. I don’t have much more to say about this other than that it is a thing of beauty.
Strange that Errol Morris is Exec-Producing a movie about a drunk uncle who attempts to score with his flirtatious step-niece on Christmas Eve. Nevertheless, the sideways nature of the poster is catchy if you can forgive the CGI beer flowing from out of the can. Still the ladies show clasped in Brian Posehn’s hand is compelling, as is the warm holiday tones of brown and green offset with the overall ridiculousness of, that ‘drunk uncle.’
My micro-obsession with French-Belgium thriller The Lady In The Car With Glasses And A Gun continues with this handsome, high-contrast and big typeset poster. Emphasizing wardrobe and poise, and the titular sunglasses and firearm, the posters gives off a vaguely exploitation vibe (in some ways it is reminiscent of the I Spit On Your Grave poster, just from a classier angle. This is commensurate with the trailer released yesterday that showcases the sleazier elements of Hitchcock and De Palma (mmm, split screens). I’m always a fan with designers play around with the position of the credits block and ‘above the line’ names, and this does indeed feel aesthetically pleasing.
One minor gripe, is she in fact holding the gun, or is that just kind of photoshopped where her hand is. I’m not sure if it is the illusion of photography or simply weak photoshop.
Here is Carrie Fisher, all made-up, photoshopped, and ready for her solo character poster. And I must say, it looks fabulous. Fisher always had the energy and intensity (something Natalie Portman had trouble with in the Prequel trilogy) of the key heroine of the series, and now she has some serious gravitas and somehow, this makes her even more human. I’m ready for her to become the franchise’s Judi Dench.
Unlike the other rather ugly character posters, where the designers thought it would be aesthetically pleasing to put vertical objects in front of the characters faces (hint: It’s not pleasing), the simple green lighting cues are much more subdued and subtle.
After last weeks one-two punch of original looking posters, we hit a bit of dry spell. But here the folks behind the Point Break remake are not shy in taking a page from the Fast & Furious Franchise. Or is it the Mission Impossible Franchise? Either way, this is advertising at its most direct and simple:
“Wanna see two guys wielding machine guns jump out of a skyscraper on motorcycles on a fine sunny day?”
Had I waited a bit longer today to scour the internet for this column, the poster I would certainly have chosen would be this blue beauty for Alejandro González Iñárritu’s The Revenant. It is one of the best movie posters of the year! So, in the spirit of generosity, I give you the ode to the snowy western, negative space, and the power of fire just out of the frame. God, this is beautiful, as I expect the film to be.
The mania this week around the new round of Star Wars movies was at its peak, and while a traditional collage-style Star Wars poster was released for Episode VII, clearly a new creative team offers for new directions. And that brings us to the orange-bronze comic book style poster above. As the franchise is returning to it’s ‘used universe’ look and feel, and the best images so far has been the derelict leviathan of a beached Star Destroyer and the round little BB-8 droid, this poster capitalizes on both. A lonely figure staring up at the sun is also a key image of the original trilogy (OK, it was two suns in the 1977 film) and it is evoked here, along with the ‘sundown on the Empire’ colouring. Also, in the fine print at the bottom, it says “1 of 4.” I am curious as to the other three.
A new trend in movie marketing? Two posters this week, both use half a horizontal half of a woman’s face. You’re guess is as good as mine, but it’s a compelling image in both cases.
The above poster is for Forest, a film set in Japan starring Natalie Dormer in which an unexplained horror occurs in a the eponymous greenery.
The below is for Embers which is a film set after a global neurological epidemic, where those who remain search for meaning and connection in a world without memory.
This porcelain-doll, almost avant garde, collection of symbols and a beautiful white face, for me evokes the science fiction fascism and post-nationalism that is at play in the Hunger Games franchise: The rising phoenix/eagle/jay, the line of storm troopers, the rose simultaneously shedding tears of blood and down below branded in the mocking-jay logo. At least that is my impression as one who has not read the novels nor seen any of the films up until this point. Sorry, I cannot muster the interest. But the poster does indicate ‘classy sci-fi’ which at this point, the final entry in the series, I guess they are going for?