I will happily admit that this poster doesn’t tell me anything really, about the film, other than the credit block (if you squint) indicating that it is the latest film from Gore Verbinski. But simplicity is underrated in movie marketing these days, most posters favouring photoshop clutter, or a long series of character posters, or ugh, head floating above a landscape. So a bright azure apothecary bottle with a girl floating in the liquid on a stark white background might not be the most creative thing in the world, but it certainly stands out. I look forward to February, as new Verbinski is always a good thing!
w00t! **Updated** with a quite excellent trailer which feels like THE KNICK TV series crossed with 1963’s THE MIND BENDERS and GdT’s CRIMSON PEAK.
Nbodoy puts Naomi in the closet! This French poster is sending out confusing noir-ish signals with its slanted blinds and almost completely unsaturated palette, to go with its ‘trapped’ vibe, and artisanal screen-printed textures. It is a wee bit reminiscent of one of the great all time posters of this century, which also featured Naomi Watts.
Despite its muddled genre cues (Blue Velvet with gender reversal? Halloween On South Street?) and title confusion (it is called Oppression in France, and Shut In in the USA?), I still give the poster a few points for simplicity and minimalism.
More curious than excited about this one (excitement is being reserved for Rian Johnson in 2017). But still, this is looking pretty good. A little bit more character stuff and backstory in this new trailer.
That’s all I have to say right now. Have a look and opine for yourself. Looking good though!
Paterson, New Jersey. City of waterfalls, inspiration to poet William Carlos Williams, and in a post-modern sense, to poet Jim Jarmusch. This minimal German poster for the film highlights several, but not all elements of the film, does not showcase the star, Adam driver, but rather the city and the mood of the film, contemplative, a bit blue, and a wee bit out of sorts with ones pet.
So, you have a nice design idea to get across the feel of your film. You choose typeface for the title, the size, shape and location of the credit block. You come up with a central element. This movie is about writing, it is about New York City. You combine these two items in a clever way, using type to draw the iconic skyline in the page, using a classic mechanical typewriter. You even subtly underscore things by adding a red period that matches the decal on the typewriter.
But then foolishly, the marketing company forces you to be generic pictures of all the mid-tier actors in a garish line of boxes at the bottom, destroying the colour symmetry, clean design, and making the whole concept look half-assed. Why? Why? Is seeing a bearded Josh Peck in a tiny box near the bottom of the poster really adding value? Would not his name suffice? Addison Timlin? Chris Noth? I’m not picking on these actors, they are fine. But when you make a poster to entice someone to consider a film, it only looks desperate to put this sort of thing in.
When advertising a ‘movie-star-vehicle,’ it barely needs to be said: Advertise the faces of your stars! Removing the credit block entirely for a clean Apple/Tesla kind of design, the science fiction-romantic-action picture indeed gets big, brightly lit studio portraits of Jennifer Lawrence and Chris Pratt. And while the dots and dashes might seem a little superfluous, they actually do say “S.O.S.” in Morse code, which is the basically the core idea of the picture.
And because we missed it earlier this week, the trailer for Passengers is also tucked the fold.
It might be a bit cliche in content (yes, another cabin in the woods horror movie) but in design, this poster is too lovely not to share. Hand drawn, confident lines (especially in the title typeface), and the matching colours in the river of blood with that bonfire happening in the background. This work is striking enough to effortlessly stand out in the multiplexes … where it will, likely, never be displayed.
The stylish (if, again, VERY cliche) trailer for Tonight She Comes is also tucked the fold.
I do not know exactly how one connects a supernatural gothic adaptation of a young adult novel to street artist Banksy, but 20th Century Fox certainly went all in with their recent marketing for Tim Burton’s upcoming Miss Peregrine’s Home For Peculiar Children. A whole series of character posters were made for the film. Tonally relevant or not, they are striking objects sure to stand out in a typically Photoshop-heavy multiplex environment. And so goes the truism that any rebellious art will eventually be co-opted for marketing purposes.
I became an instant fan of director Sarah Adina Smith after seeing her debut film, The Midnight Swim, at Fantasia a couple years ago. She’s back with her second feature, starring Rami Malek (and there are no shortage of Mr. Robot fans out there.) Pitched somewhere between Memento and Talk Radio, the poster immediately offers cues of things not being right. The backwards clock numbers, the odd reflection of Malek’s eyes, and the mildew-brown colour palette, which are evocative of Barton Fink.
The film premieres at Toronto International Film Festival shortly.