Friday One Sheet: Kenneth Branagh’s Cinderella

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.

Friday One Sheet: White God

I have yet to see Korn√©l Mundrucz√≥’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.

Friday One Sheet: Gaspar Noe’s LOVE

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.

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]

TeenLust

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.

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

Gone-Girl

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

click for full screen

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

MissMeadows

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.