And now, via UGO, we get to the big boys in these two posters, that, as you’ll probably quickly notice, show the same scene from the perspective of our villain and then from the perspective of our hero. Nice concept, impressive images.
I like that a few visuals elements and ideas from previous posters made into this latest ones. The letters, for example, are similar to the letters for this other poster (which I still think is the best of the bunch). The idea of associating a tag line with each character that seem like the something character is saying is something that we have also seen before.
Honestly, these are not my favorite The Spirit posters. But I do like them and have to congratulate the people behind the posters for keeping the quality high throughout the campaign.
(Thanks to MyCityScreams for the heads up)
Over at IMPAwards the IMP mentions that this poster just shows us that the film stars the same people that starred in Titanic, which he muses might just be enough. And indeed I think the the new encounter of this two will be central to the marketing.
The funny thing is, Leonardo and Kate really aren’t looking quite like themselves in the poster, are they? No big effort to use a photo that facilitated their recognition either. Not sure I would have known who they were if their names didn’t show up in the poster.
As for the design, well, it’s nothing terribly original, but I have a soft spot for posters with lots of white and a single and serene strip with an image from the movie. For example, I also liked this poster.
First, the set up:
A poster that was not approved by the MPAA and so won’t be shown in the US.
Then, the punchline:
A poster that shows nothing of the movie itself.
The second poster strikes me as very effective. The image isn’t exactly beautiful, but they were careful not to make it ugly either, and it’s so different you almost have to look closely and read what it says. The mix of showing so little and hinting at so much, and, more specifically, so much sex, should be enough to get a sizable audience interested.
The somewhat shocking title helps, of course.
I have to say tough, that sometimes I am bothered by the way that certain advertisers use the MPAA restrictions to get attention to their films. Not that the MPAA is a saint, much on the contrary, they make plenty of questionable decisions. But the cries of censorship are sometimes quite cynical and calculated.
Not that Zack and Miri is an specially big offender. In fact, horror movies tend to be the biggest and most methodical users of the “look at what the MPAA doesn’t want you to see” shtick. But it reminded me of this pet peeve of mine.
(Via IMPAwards and Pop Watch)
Separating the poster in two and using the bottom half for a reflection that reveals another version of the character seems to be a popular design choice these days. Outside of these two posters we also had the poster for The Life Before Her Eyes, which went in a similar route.
Of course, in the case of the posters above what is striking isn’t just the similar concept, which is actually a bit different since the one for Flashback uses the reflection to showcase the younger version of the character while the one for Leaves just shows a different version of the same person, but also the general visual resemblance.
I think that the poster for Leaves is the better one, mostly because it has less fat allowing the focus to fall squarely in the main concept. Secondarily, I prefer the strong green, strong black and white color scheme better than a like the similar but bluer scheme of Flashback, and making the poster work with either side up is a neat idea.
Is it turns out in Leaves of Grass Ed plays twins, so it’s not really two versions of the same character. But still, same diff, right? Right?
“it’s your typical French animated … horror … anthology. In black & white.”
That’s how Scott Weinberg describes Fear(s) of the Dark over at Cinematical. Seems quite intriguing.
The poster, on the other hand, is kind of dull. It does look like a poster for a french animated horror anthology in black and white, but it’s the most boring non-remarkable version of a poster for that film. Way too much space used for the title, not enough showcasing the (supposedly) compelling imagery of the flick or the general premise.
This is a recurrent complaint of mine. Safe mainstream posters for film that are weird, different and that have very little chance of actually being interesting for a broader audience. Why not go out on a limb more?
Of course, sometimes we also get posters that try too hard to make the film seem different and special when something a little more polished and mainstream could have been just perfect. But nobody ever said this poster business was easy.