As you're probably all aware, there are plenty of ugly-looking movie posters plastered all over town right now (like this one, for example), but don't despair just yet. We've managed to dig up a select few that prove the art of making a film look as alluring as possible in one single image is still alive.
Here are the most conspicuously attractive film posters of the month. Do we all agree?
Gimme the Loot (dir. Adam Leon)
You can totally feel the summer vibes in this one, with the NYC skyline, re-imagined as spray cans hanging over the two young leads (graffiti artists, as it happens). The poster is almost as sun-drenched and warm-hearted as the film itself, which is a complete gem, FYI. More to the point, how sick would this look on your wall, above your bed? The answer is... very sick.
Welcome to Pine Hill (dir. Keith Miller)
Between Welcome to Pine Hill, The Place Beyond the Pines, and Beyond the Hills, we've been getting our hills and our pines a bit muddled up recently. But cementing Pine Hill in our minds is this poster, which has well and truly done its job. So here's some nifty advice for all you future film promotors out there: Tree-heads always do the trick.
Side Effects (dir. Steven Soderbergh)
If Soderbergh isn't telling lies again, Side Effects is his last film. Which means this is his last movie poster ever (well, actually, there have been a few posters for this film, but it's definitely one of the last). Anyway, the point is, this is not a bad one to go out on; no dodgy fonts, no puke-inducing colours and effects, no cramming in every star in the movie. Yep, we'd whack this one up in our toilet.
The Unbelievers (dir. Gus Holwerda)
Featuring militant atheist Richard Dawkins, we're guessing this isn't the most colourful of films. Appropriate, then, to keep things simple for the film's poster. Now, we're not massive fans of the colour orange, but this particular shade sort of reminds us of those old Penguin books which, needless to say, we're very fond of.
To the Wonder (dir. Terrence Malick)
We've decided that we actually prefer this bookish poster to that perfume ad-y one we bigged up a while back. And would you believe it? No lens flare! No trees! No magic hour sunlight beaming across the characters' faces! Malick will be filming close-ups of concrete high-rises in no time.
Tabu (dir. Michel Gomez)
The best thing about this Australian poster for Tabu is that they didn't go crazy with the font size for "THE FILM OF THE YEAR" bit. OK, so they did use capitals, but the majority of film promotors/poster people, as we know too well, love to blow up such statements so they're almost as big as the title. Speaking of the title, those dashes are rather elegant, aren't they?
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