Oscar Week: Frost/Nixon

Frost/Nixon is basically an intimate, almost claustrophobic story. The poster takes a cue from that and shows us the the people at the center of this story. Nixon, swollen by shadows, and Frost in the light and looking decisive, almost angry.

Honestly, its a little too claustrophobic for my own tastes. And yet, I can’t deny that after just looking at a small version of it a few months ago the poster immediately stuck to my mind and I had no problem recalling it since them. The way the actors are positioned, their expressions and the lighting end up creating an image that might not be instantly appealing, but is unique enough to cause an impression.

This other version is a little more “open”. This kind of design is, of course, very usual. But this is good execution of it, and it generally fits the film. So it works, but is utterly forgettable. The, in my opinion, more flawed main version ends up being much more interesting, at least for me.

But no home run here.

The International Poster

Can I just point out that this poster for The International has two URLs? One scribbled in the middle and another one in the bottom. That is so confusing! To which one am I supposed to go?

What seems to have happened here is that they took the original poster and decided to reuse it to promote their new spiffy web site. Since they weren’t changing anything else, they kept the old url at the bottom.

Ok, perhaps not the most important thing ever, but still a little weird, right? Right?

In other news, the poster seems to suffer from a bit of Bournitis.

Yo Clive, Damon has been walking around holding a gun for years now. Find your own shtick.

Ok, so perhaps not the most cunning comparison ever, but when you put these two things together you certainly have enough content for a post, right? Right?

(Via IMPAwards)

Crank 2 Gets a Final Poster

Well, that looks … painful, mostly.

This is apparently the final poster for Crank 2, which is a little disappointing because I was hoping for a few more cool teasers. I mean, we got this one, which was fine. But not only is it based on a poster for the original, it isn’t even based on the best poster from the original.

As for the final poster itself, I guess it’s alright. It does bring the subtitle to life. And it is much better than the generic Statham looking tough poster we get so often.

But in the end the thing I find myself remembering most about this poster is the tagline, which is never a good sign, even when the tagline is as good as this one.

The Last House on the Left Poster

Well, this is about the most boring, most literal poster they could have cooked up for this movie. A scary house on a hill. Yeah, we had never seen anything like that before.

Now, compare it to the grindhouse goodness of the original:

Now, I didn’t actually expect them to go with something like this. This kind of poster only works in a certain context and it wouldn’t be successful in selling the movie to a broad swath of the current generation of moviegoers.

But I think this illustrates the problem not just with poster but with the whole remake. They took a film that is a cult classic largely for being so extreme, in that typical grindhouse fashion, and took that extreme side away without adding anything in its place. The result is looking to me like it will be largely irrelevant. The poster certainly is.

(Via ShockTillYouDrop)

Harry Potter and the Typical Harry Potter Poster

Half-Blood prince is going to be the sixth Potter movie. So it’s no surprise that by now they have a marketing formula they think works and is not worth straying from. For the posters this means lots of character posters showing the characters either looking distressed or looking ready to fight back. Apparently it also means a blue tinge. And every once in a while it means a tagline that says very little about the story but makes the whole thing sound big and scary.

Complaining about this is like complaining that a Big Mac still tastes the same as ever. While it works they won’t change it, at least no meaningfully. And for many of the fans the familiarity is a big part of the appeal.

(Via MSN Movies, Yahoo! Movies and IMPAwards)

Two Nights at the Museum

I guess since we have all seen the first movie the weird inhabitants of the museum have no reason to hide anymore, either from us or from Ben. Which is kind of unfortunate because a lot of the magic of the first poster had to do with getting a glimpse of this world of wonders lurking just under the surface of a normal museum. With all of them there front and center the effect is much diminished. Not to mention that the poster ends up looking a lot like one of those posters for the annual every-movie-under-the-sun spoofs.

Also making this poster worst than the ones for the original: that damn smirk on Ben’s face.

(Via MoviePoster and IMPAwards)

Wolverine Poster

Seeing this poster you might find yourself remembering this other poster:

Those claws, they sure are useful. They can represent a three if you’re advertising the third X-Men film, or they can represent a W if you are advertising the first Wolverine movie. Is there anything they can’t do?

Well, I guess it would be hard to make a D. Hmmm.

I’m a little torn about this poster. On one hand it is hard not to think back to the last X-Men poster when seeing those claws. On the other hand having the claws on top of Wolverine’s face makes for a dark and angry poster, which somewhat limits it’s appeal. I think X-Men had a broader than expected appeal due to the large and varied cast of characters, which included several women. This film might find replicating that appeal hard.

On the third hand, this is Wolverine, so what are you gonna do? Show a romantic poster of Logan smiling and holding tight some girl as they take a stroll down the park?

(Via IMPAwards)