If this movie is truly following the lead of The Hunger Games’s marketing, then you can expect a minimum of a dozen more posters trickling out in the next 12 months.
What were the common threads among the finest film posters of 2013? Mustaches. Sunglasses.
Every year, countless audience-insulting ads arrive to support the theories of the doomsday crowd.
The trailer for White Reindeer doesn’t seem to feature any cocaine use, but it might as well.
Age makeup is often an easy target for criticism.
Poor Naomi Watts just can’t escape the big blue.
There’s homage, and then there’s the new poster for Alexander Payne’s Nebraska.
For all you geriatric mutants looking around for your glasses, McAvoy and Fassbender are shown within their colored Xs.
Lionsgate sure has been having its fun with the poster campaign for You’re Next.
I hate to take the easy road and say that the designers of the poster thought outside of the box, but, hey, if the metaphor fits.
He’s back. No, not just Ron Burgundy, but The Mustache.
Rarely do you see a protagonist appear so miniscule on a major movie poster, especially one who’s part of a blockbuster franchise.
Is that Katniss Everdeen perched on that craggy peak, or is it Conan the Barbarian?
The poster for August: Osage County would have been an event no matter what it looked like.
With little more than two strategically placed parentheses, von Trier may well have delivered the best poster of the year.
For those enmeshed in the critical universe, or just plain savvy about film, pullquotes can have a powerful effect.
It’s really all about those lenses, through which you’re left dying to peer.
It ain’t the nostalgia the repeat offenders at Concept Arts were going for.
White House Down looks to be the peak of Roland Emmerich’s violent affair with 1600 Penn.
Testraint doesn’t seem to be an item on Tyler Perry’s menu.