So it looks like the visual plan for “Tinker, Tailor, Soldier, Spy” is keeping it similar to the international look, judging by the domestic poster that hit the net yesterday. I think the first is a little more refined, but I still dig it. Check out the full image, plus a new featurette for the film, after the jump.
First off, apologies for the misinformation regarding “The Rum Diary” potentially being at Telluride. (Scott Burns was right!) It really did look that way for a minute, but anyway, a poster for the film has been released, and it’s delicious. *hiccup* I’m very much looking forward to this one. Check out the full image after the jump.
Jason Reitman was a sadly absent from this year’s Telluride fest. His last two films, “Juno” and “Up in the Air,” both landed there as an early Sneak Preview before heading to Toronto and awards glory. But the strategy on “Young Adult” has been to stay away from peaking too early. But it’s smart to get the talk moving with a teaser poster for the film, which you can check out after the jump.
I was hoping to get William Friedkin’s “Killer Joe” here at Telluride, but Guy will have a chance to see it in Venice if he sees fit. I’m very much looking forward to it for some reason, and I dig the poster that hit the net today. Check out the full (grossly watermarked courtesy of Coming Soon) image after the jump.
Some weeks back we posted the intriguing banner-style poster for George Clooney’s “The Ides of March.” I’ve been waiting on a typical one-sheet to make its way here and now, it has, fit with a dry tagline and more of that double imagery, given the placement of Clooney and Ryan Gosling’s heads. The film is set to play Venice very shortly. I imagine Guy will post a review some time in the next 24 hours. Check out the full poster after the jump.
I recall our learned friend Anne Thompson responding with scepticism when I mentioned over a Cannes lunch that I expected Michel Hazanavicius’s “The Artist” to be a major player in this year’s Oscar race. Looks like Anne has come round to the idea over the summer, as she — together with Steve Pond and David Poland — placed the film in her top spot on the Gurus o’ Gold’s Best Picture chart. I’d be right there with them. The Weinstein Company’s marketing push for the audience-friendly silent-cinema homage begins today with a supremely elegant poster that puts its Cannes-honored star to the fore, and nails the film’s vintage romantic allure. Nicely played. Check it out after the jump.
Luc Besson’s “The Lady” doesn’t have domestic distribution in place yet, but the wheels are already turning as a teaser trailer dropped at Yahoo! Movies today. Meanwhile, a Shepard Fairey-designed poster based on the artist’s own piece celebrating Burmese revolutionary Aung San Suu Kyi has also hit. This film could certainly be an awards play for actress Michelle Yeoh and actor David Thewlis. It’ll be part of our festival preview in next week’s Off the Carpet column. For now, check out the full image after the jump.
Another day, another poster. Interesting that they’re selling this one less as The Ralph Fiennes Show (he is Coriolanus, after all) and more as a two-hander. It’s worth playing up Gerard Butler’s contribution — his performance here is a career highlight — but I maintain my broken-record position that Vanessa Redgrave is the real story here. Meanwhile, I’m slightly surprised at what a slick marketing push this one is getting: the film is more of a curio than you might think. Interested to see how this pans out. Full poster after the jump.
Or, as a “Top Chef” contestant might title this post, “Drive” Four Ways. The US teaser poster for Nicolas Winding Refn’s Cannes winner unveiled a couple of weeks ago — the one that handily doubles as the cover for Ryan Gosling’s upcoming workout DVD — met a mixed reception. Some liked the kitsch, star-centered romanticism of it (though I can’t top Nick Davis’s “Aaron Carter inspirational cassette single” analogy), while many others thought it did an inadequate job of selling the film’s genre components. The film’s a fast-car thriller — where were the cars? And the thrills?
Those objectors should be appeased by the film’s new US and UK one-sheets, both of which retain The Gosling Factor while shading in a little more of the action-film context. (A faint hint of camp is still present in the film’s trademark hot-pink cursive.) The US poster wins on the design front — and props for including a glimpse of the film’s key fetish object, Gosling’s leather driving gloves — but loses major points for recycling a tagline indelibly attached to “No Country for Old Men.” What were they thinking? Check ’em out after the cut.
I’ve successfully dodged the trailer — and swiftly ducked out of any online discussion — for Steven Soderbergh’s “Contagion,” to I can honestly say that I haven’t the faintest idea what it’s about, and plan to stay cheerfully ignorant until the lights go down at its Venice press screening in a few weeks’ time. Fortunately, this set of six character posters that hit the web yesterday doesn’t shed any more light, selling the film on its tantalizing cast and a hazy sense of foreboding that invites so many questions. What’s going on? Why can’t we touch anyone? Why has Matt Damon switched bodies with Mark Wahlberg? Why is Jude Law preserved in ice? And what did poor Gwyneth Paltrow, here lobbying hard for Ron Howard’s long-gestating Tilda Swinton biopic, do to so displease the film’s marketers?
All will be revealed in under a month. The most arresting of the designs is after the cut, followed by the most flattering (Marion Cotillard clearly has friends in the right places) — check out the rest at Yahoo! Movies.
So, this little movie called “Drive” hits US theaters in just over six weeks, and you may have gathered by now that I kind of like it. After a spiffy trailer debuted last week, a fresh poster was due, and Film District have obliged with a one-sheet that makes no bones about how they’re pitching this thing — as The Ryan Gosling Show first and foremost, with the film’s sleek thriller qualities very much in the rear-view mirror. With American audiences current lapping up Gosling’s charms in romcom “Crazy, Stupid, Love,” it’s probably canny to emphasise the cool of their in-demand star, while the kitsch hot-pink typeface (the same used for the film’s credits) offers a hint of the 1980s pastiche to come. (That corny-sounding tagline, meanwhile, references the film’s most delicious soundtrack cut.) Not the most creative design, then, but one I can see gracing a lot of teenagers’ walls in the months to come.
Hitting the internet simultaneously with that well-received trailer yesterday was this unusual poster for George Clooney’s Venice curtain-raiser “The Ides of March.” It’s always nice to see designers attempting something a little more conceptual than the norm — indeed, the simple split-face gimmick here could almost be taken as an ironic rebuttal to floating-head convention. Most interesting, however, is the tripling of the core composition into a UK quad-style format: it’ll be a duller poster when it’s inevitably chopped vertical for multiplex use, but it does raise the point that with posters all debuting online these days, there’s little initial reason for a standard format. Anyway, nice job — check out the full one-sheet after the jump.
I’m still in a bit of wait-and-see mode on “Moneyball.” It could be an awards play, it could just be a bit of bankability in the fall movie season, but I do dig the one-sheet that hit the net this week. The trailer hit last month. Check out the full poster after the jump.
Yes, another poster — but it’s a good one, and for a film many of us are awaiting rather eagerly, so hopefully you’ll let it slide. The teaser trailer for Tomas Alfredson’s adaptation of John le Carré’s classic spy novel (previously, and very successfully, filmed for television with Alec Guinness in 1979) debuted to a warm response a few weeks ago, and this tastefully sober one-sheet, playing up the more cerebral qualities of the material, further supports expectations of a classy package. (Spot the release date, by the way.) Also nice to see Gary Oldman given lone above-the-title billing, despite the presence of supporting names that might currently be more marketable. Full poster, courtesy of Empire, after the cut.
I’ve just come from a screening of “Tyrannosaur,” Paddy Considine’s feature directing debut that made something of a splash at Sundance in January, winning awards for Considine and stars Olivia Colman and Peter Mullan. I’ll discuss the film in more detail soon, but I’m happy to report that the early festival hype is thoroughly justified — it’s a startlingly severe but compassionate character study broken open by a tremendous pair of lead performances that merit major awards consideration. Strand Releasing have the US rights, though a release date hasn’t been confirmed; for now, however, the film’s cryptic UK one-sheet ranks as one of 2011’s finest. (No, it’s not about dinosaurs.) Check out the full poster after the jump.
One comedy that could light up the awards circuit later this year is Jonathan Levine’s “50/50.” I noted some potential awards prospects when the trailer hit two months ago (and I think we can add Anna Kendrick to the list of possibilities, too). Today, courtesy of /Film, we get a look at the poster for the film. Check it out in full after the jump.
Nailed it. This is a fantastic image. It kind of recalls the poster for “Batman Begins” with the Caped Crusader dropping from above, it carries in the urban nature of “The Dark Knight” and gives the overall vibe that all hell is gonna break loose. Check out the full teaser poster for “The Dark Knight Rises” after the jump.
Last week the trailer for Sundance Selects’ “Tabloid,” one of Errol Morris’s best films in some time, hit the net. The poster has also been floating around, so I thought I’d toss that up as well. Have a look at the full image after the jump.
