I find the differences between the posters for Blindness and The Happening interesting. Both are films that involve an apocalyptic situation in which a plague causes widespread panic and chaos. But The Happening was a mainstream summer movie whose marketing was aimed at the broadest audience possible for the film. Blindness on the other hand is seen as an art house movie that has to be marketed to a narrower audience.
So The Happening gets a bunch of posters focusing on the plague and its effects. Meanwhile Blindness gets a bunch of posters focused on the prestige cast and on the characters they play. The plague does appears, through the use of a lot of white and through the obvious lack of sight of most of the characters, but it isn’t the focus of the posters. The characters themselves are the focus.
We’ll see if the rest of the marketing follows this same approach.
As for the quality of the Blindness posters, I think they are good, but far from earth shattering. The main poster (above) depicts an important moment that says a lot about the story and about the relationship formed between the main characters. But I’m not sure the image will translates that well to an audience that isn’t already familiar with the story and the poster feels a little too faded, which makes for an unremarkable image. This is, by the way, not a problem with the character posters, which still have a lot of white but use the image’s space more effectively.
Thanks to Philip for pointing this out.
I always hated those optical illusion black and white things that could be more than one image, depending on how you look at it. They always made me feel like I might be missing something that everybody else is seeing: “Wow, that witch flying a frog into Santa’s house is pretty amazing!” meanwhile I’m seeing a glass.
And that is exactly how I feel about this new poster for The Family that Prey’s. I’m pretty sure there is something really smart hidden in the image. And I have no clue what it is. I look at it one way. Then I look at it another way. I try to convince myself that I’m seeing something, and then I just have to give up.
I can see a hand, for sure. Maybe a face. But I keep thinking there must be something else. And some symbolism that connects these things together. And I’m sure that if I got it I would be blown away.
But I just don’t get it.
See, I knew I was missing something. Strangling, of course.
I really wish they had done more with the whiteness of the ambient. But I guess this isn’t too bad.
It’s always funny to find a new poster for a movie you wrote about a year ago. Apparently they used all that time to come up with a much worse poster design.
Despite all the 24 success my man Kiefer still can't score a face placement on the poster for his crappy horror film. Sad. But they did chose to replace the Kiefer's head with a screaming woman, which is like, totally original when it comes to horror posters.
To be fair, it is more disturbing than the general woman screaming images.
Young Rainn Wilson was cute. Old Rainn wilson with almost no clothes is mostly scary.
I didn’t know they were doing a sequel to The Incredibles…
Surprisingly the poster that almost doesn’t show DeNiro’s and Pacino’s faces is the most effective one for the film so far.
Going blind, piece by piece.
(Via IMPAwards, Casty, Movieposter.com and ShockTillYouDrop)
What bothers me about this poster isn’t so much that it’s bad, because it’s bad in a very harmless dull way. What bothers me is that it is a waste of a wonderfully visual title.
Red Rose and Petrol. Just hearing it isn’t your mind assaulted by visions of deep sensual red against overpowering pitch black? There is so much you could do with that, but here the concept of black against red is engaged in only perfunctorily. A rose there. A little red here. Some black on the edges, and that is it.
Again, such a waste.
I’m a big, big fan of Charlie Kauffman, writer of such incredible recent films as Adaptation and Eternal Sunshine of the Spotless Mind, and I’m really looking forward to his directorial debut, Synecdoche, New York, even tough the reviews so far haven’t been exactly splendid. So when I read that there was a poster out I immediately clicked over to Ioncinema to look at it, fully expecting to find something impossible to comprehend.
And indeed, I’m not too sure what’s going one in the photo for this poster. I could make a couple of guesses, based on what I know about the film, but nothing solid. And yet, I’m a little disappointed. I was expecting something not simply hard to understand, I expected something intriguing, something that would look amazing even tough I don’t understand it. Instead we get a dreary, gray image that makes this looks like a hard slog of a film.
And in top of that it has a certain art film poster aesthetic that I have come to dislike, because it seems intent in trying to make the films look as mundane and bleak as possible. And you know what? Art films at their best are wonderful and inspiring, and there is nothing wrong with letting that magic and excitement come through in the poster.
Choke is not meant to be a big film. If it becomes a cult flick like Fight Club I’m sure the people involved with making it would be simply ecstatic. So the goal of the poster isn’t to appeal to a broad audience, but to really fire up a small but possibly loyal core group of people.
And considering that, and considering the contents of Chuck Palahniuk works, I find myself wondering if this poster isn’t a little too tame. In many way it’s a great image. A man choking on a woman, done in black and pink, a style that gives the poster an unique visual style an compliments the surreal choice of imagery.
An yet, the style takes the edge off. It makes the image seem tame, arty and detached. And so it lacks a true emotional punch to the gut I would have liked to see.
But perhaps I’m being too demanding here. the qualities of the poster are obvious and I probably should be happy with them.
And yet, I keep wanting a little more.