Clearly inspired from Saul Bass’s iconic poster for Anatomy of A Murder, this black & red poster for indie horror, Body, is simple, eye catching, and yet it has a somehow a bit of a modern feel.
The film involves a Christmas Eve, girls-night-out, gone horribly wrong after Larry Fessenden shows up. Comparisons seem to be to along the lines of Peter Berg’s Very Bad Things which is memorable for its darkly humourous tone in the face of some quite naughty behavior.
Justin Kurzel (The Snowtown Murders, and currently directing Assassin’s Creed) offers up a visceral adaptation of Shakespeare’s Macbeth, and has two very power stars in the lead roles: Michael Fassbender and Marion Cotillard. When you have stars this good looking, you damn will put them on the poster. And indeed, the above poster eschews text and credit blocks to keep the focus on Ms. Cotillard. (Fassbender in his warpaint is tucked under the seat.) I often refer this kind of no nonsense design ‘South Korean’ style, because that country often likes a simple enhanced photograph to sell their blockbusters.
The only drawback to this, is that it doesn’t tell you the supporting cast contains David Thewlis, Sean Harris, Paddy Considine and The Man From U.N.C.L.E. villainess Elizabeth Debicki in supporting roles.
Would you like to know more…?
David O. Russell cannot resist working with Jennifer Lawrence, Robert DeNiro and Bradley Cooper. He has another film out this Christmas called Joy. The poster winningly combines gently falling snow, aviator shades, and a very intimate shot of Ms. Lawrence’s neck. Make of that what you will, it’s a striking design.
Kelly Reichardt’s debut film, River of Grass is getting a bit of a revival. A restoration of the film is playing at this years edition of the Toronto International Film Festival, and a new one sheet was made, shown here. It is a watercolour rendition of a screenshot from the film (below) featuring a very young Larry Fessenden holding a kitten, and Lisa Bowman holding a green tooth brush and a diet cola; beautiful losers against the beach and palm tree background. Heck, from this image alone, it looks as this could be a prequel to Inherent Vice.
The simple, yet glossy, photo with just the title, tagline and credit block is a style of movie poster I like to call “Korean Style,” as South Korea, well known for its glossy studio films, often promote them in this fashion.
Here we have Kate Winslet standing in a golden Australian field with her sewing kit, and the promise of “Revenge.” Would I like to know more? Hell yes. That it has both the director and the star (That would be Jocelyn Moorhouse and Hugo Weaving) of 1991’s excellent Proof, all the better.
And the wonderful one-sheets keep coming for Denis Villeneuve’s much anticipated cross-border hitman procedural, Sicario. This one has the ‘collage of characters’ style usually reserved for adventure movies, so it seems tonally at odds with the polished grit that the trailers promise. Having not seen the film I cannot say for sure. The design does imply that all that is going to happen in the film is concomitant with the head-space of Emily Blunt’s character.
September cannot come soon enough.
Looks like Jack and Meg White have secretly been collaborating with Saul Bass for the marketing for the Mission: Impossible franchise for the past several years; but Paramount Pictures is just getting around to letting us know about it. This arguably handsome set of posters recalls the iconic scenes/imagery from the previous installments in the Tom Cruise, super-spy universe; all leading up to the newest blockbuster for 2015, Rogue Nation, which hits theaters on July 31.
The promise of a ‘Western with winter’ in the vein of The Great Silence, Ravenous, Jeremiah Johnson or McCabe & Mrs. Miller is just about as compelling as just about anything in cinema for yours truly. You can guess at the tingle that this particularly painterly poster offers. Kudos to Quentin Tarantino and other keeping the genre alive (and this year promises to be particularly kind for gunslingers and ne’er-do-wells.) The Hateful 8 with its gritty tagline (I can practically hear that line being spoken by Kurt Russell or Bruce Dern) alongside foot prints and blood. And a collection of hardened men against the backdrop of gently falling snow. Bliss.
We have no plans to actually bother with the Hitman sequel, Agent 47, but give the marketing team some props for this clean design of striking angles. Now it is debatable that this kind of bold, retro design will be appealing to the audience demographic they are likely to get into the theatre for the film, but, that is another story.
Points of note: The 47 combines nicely to form a graphic that is either an hour glass (the clock is ticking) or a slightly broken infinity symbol. Combine that with the converging perspective of the office towers, dwarfing the hitman on a field of red and it suggests the promise that a river of blood is going to flow downtown. It also echoes the design of the hitman’s iconic red neck-tie. Overthinking things? Maybe. But anytime we can have an uncluttered design, with classic and firm lines, it is a cause for celebration — regardless of the actual film in question.