The movie poster for Cowboy might seem nothing special, but I find it very effective in its simplicity. The image relies completely on the personality and expression of the lead actor, and Benoît Poelvoorde delivers. Not some photogenic pseudo-cool face, but genuine emotion in high contrast black and white on a powerful red background. All text down to the tiny credits is grouped into one functional block which is perfectly integrated in the actor’s silhouette. I like this attitude. Instead of having all these little bits’n’bobs at the bottom clutter the design, show some resourcefulness – use them functionally and turn them into an integral part of the composition. The big type is set in FF Kipp, the multi-layered worn wood type font by Claudia Kipp.
We go from austere black, white and red to an unrestrained display of colours. The movie poster for My Blueberry Nights glimmers and shines with its neon stripes framing the sensual, tender image of a kissing couple. The slanted Helvetica (I couldn’t care less if it’s Inserat or Compressed so I’m not to linking) is tilted just right, so the oblique parts are perfectly vertical. This attention to detail might come naturally to most graphic designers, but I thought I might as well point it out for once. Very good use of colour in the type.
Stellet Licht nicely translates the atmosphere of the movie into a restrained image. The inhibited emotions and awkward human interaction of the Mennonite protagonists ooze from that one still image. The movie logo is set in Hamilton, a vintage 1887 design revived for The Font Bureau, Inc. by Thomas A. Rickner.
Mason Serif also makes an appearance on French movie posterLe Renard et L’Enfant. The type was slightly customized, but not very skillfully. The wavy lower leg of the E and the A are satisfactory, yet the stress on the N is wrong. The poster image itself is very tender and poetic, with the little girl and the fox shot from the back, both contemplating the landscape.
The top version of Die Fälscher sports a contemplative image as well. This movie poster is far better than the bottom version which tries to cram the whole story into the poster. As a result the design is claustrophobic and overwrought. Both versions feature Walbaum, a nice alternative to Bodoni.
A peculiar movie poster for a peculiar movie. The subdivided design for I’m Not There echoes the unique feature of this pseudo-documentary: the lead character – Bob Dylan – is portrayed by no less than three actors and one actress. The structure of the poster is enhanced by the red-blue-grey colour scheme and black borders, and the subdivisions create an illusion of motion. I like this design very much.
Lone figure with lowered gun against city skyline backdrop? Yup, the movie poster for Gone Baby Gone reminds me of last month’s American Gangster designs. Although I find those quite a bit better, this one is not too shabby; just a bit too commercial. Which incidentally is part of the name of the main typeface: Basic Commercial. Coincidence? ;)