The giant head ready to consume the wide shot below doesn’t help and neither does the tossed in shuttle launch.
The martian movie poster october full#
It’s crazy how removing the full color spectrum can make it so boring. Even if there was no question that the government would at least try (I haven’t seen it or read the book), people love artistic representations of heroes and it could still work regardless.Įither way, clichéd design trope aside, Ignition’s piece is much cleaner than Art Machine, A Trailer Park Company‘s monochromatic yawner. I almost wish they went further down the rabbit hole of this idea-a Shepherd Fairy-like immortalization/battle cry image for the public in the movie to rally behind. The words “Bring Him Home” almost lend a “Wanted” poster theme to the whole-an advertisement not to pitch us seeing the movie as much as a grassroots campaign to have NASA or whomever find the resources to get him back. It works in this context since Matt Damon‘s character is a man alone on Mars in need of saving. The shading on the left makes him clearly above the stars and stripes, but the hammer and sickle look like they’re tattooed to his noggin.įor The Martian (opens October 2) Ignition leans on the tried and true motif of placing a tagline large above the lead’s face. Maybe it’s just the weird way in which Hanks’ head dissolves into shadows naturally at bottom right but into red against the flag. LA‘s isn’t horrible either with a high-contrast Tom between the darkened colors of America and USSR’s flags, but it does scream “too much”. It’s much better than the firm’s other entry with the titular bridge rendered in a comic book sense of reality underneath Hanks’ floating head. Tom Hanks‘ face is a staple on all variations of the theme, but this one with the Mad Men-esque black and white on red geometric style is a welcome contrast to the photography. The Refinery does exactly that with their Bridge of Spies (open October 16). Minimalize the imagery overlap and you’ve got a real winner. It sort of looks like someone drew it out with one of those white-out markers, but the crisp white pops off the background and the shading lends it a 3D feel too. It would be much better with just the audience and singer in stark silhouette. I could do without the giant head surrounding the concert scene, though.
The martian movie poster october series#
A far cry from the animated series of old-but not so far with the starred “J” remaining-this gritty(?) glimpse at pop superstardom has some aesthetic appeal in its coloring and bright light. Ignition is trying to take some notice away from the indies this October with their sheet for Jem and the Holograms (open October 23). It’s good to see the effort to really compete on the printed page as well as the moving picture. So when most people can only catch at most one a week, advertising plays a big role in ensuring which films are cataloged in our memory banks to conjure aloud at the box office. This time of year is all about awards-hopefuls and it can get pretty crowded as a result. Not everything is great-see Pan (open October 9) whose poster here is as opposed to the awful character sheets and mash-ups spawned in the Jolly Roger’s wake (I especially like the pan flute logo)-but I have to say I’m happy with the majority of them. Oftentimes they fail miserably.įall is officially here and with it some great festival releases rocking memorable poster designs alongside a decent slate of blockbusters too. This monthly column focuses on the film industry’s willingness to capitalize on this truth, releasing one-sheets to serve as not representations of what audiences are to expect, but as propaganda to fill seats. “Don’t Judge a Book by Its Cover” is a proverb whose simple existence proves the fact impressionable souls will do so without fail.
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