New poster for "The King's Speech": Weinstein to the rescue

When the first US poster for The King's Speech was unveiled heads were scratched. Even the film's director, Tom Hooper, publicly admitted to hating it, and called it a "train smash." Hooper even promised that a new poster was definitely on the way. And while I'm not crazy about the yellow background, this is leagues ahead of what this presumed Oscar front-runner has been given so far. The extreme close-up and bit of the microphone is almost like the cover of a special edition novel cover, and I mean that as a compliment. Obviously Harvey Weinstein realizes that this is going to be one of his major players this awards season, and he's responded appropriately. Along with Blue Valentine's posters, this is among the best of the year (though it can't touch that recent Black Swan poster...I'm not sure anything can).

"Rabbit Hole"'s marketing gets intimate

While I'm still not crazy about the fifth slice/panel from the left (looks a little too much like sexual ecstasy...), I think this might be one of my favorite posters in what has been a mostly lackluster year. There's a beautiful sense of intimacy, and the transitions and gradual shifts in emotion really leap out from the images. These types of small, un-flashy films usually struggle in the marketing department, because they have nothing overtly eye-grabbing that can be turned into a signature image. However, the poster designers for Rabbit Hole obviously aren't letting that stand in their way. Along with the slightly less obvious tire swing poster, this is one small film that has really made itself worth looking at. Reviews so far have been very kind to this film, and claim that it's a very honest film about grief. That's not exactly easy to pull off, but it's that kind of praise that makes me long to see what is likely to be a very weighty, sad film.

In a year of mostly crummy posters...

Natalie stands tall. No really, in addition to those posters from the London Film Festival, the marketing team for this film has really done a phenomenal job of creating beautiful and intriguing posters, which are, after all, the "faces" of films. Contrast this with the dreck put out for The King's Speech (even the director hates it), or the just-plain-ordinary work for much of the year's releases, and you can see why a poster like the one above is such a great thing to see. Hopefully more follow, both for this film and others.

Beautiful official "Blue Valentine" poster

First poster for "Jane Eyre" (2011)

The first poster for Cary Fukunaga's Jane Eyre, and it's surprisingly simple (in a good way). The film is a big departure in terms of subject matter from Fukunaga's last film, the immigration thriller Sin Nombre. One of the great things about having so many adaptations of works like Bronte's is that there are so many different ways directors and actors can impact the way the story is told, and Fukunaga could prove a surprising fit for the material. The film is also notable for its casting, namely Mia Wasikowska as the titular Jane. Wasikowska has been slowly making herself a name in the States, starting with a role on the first season of In Treatment, and then moving on to Alice in Wonderland earlier this year, which made bucket loads but did little to advance her status as an actress. Then came The Kids Are All Right, in which she actually got a chance to act, despite being overshadowed by her adult cast members. Should the film play well, it could be the big critical break that Wasikowska has been looking for, even if it is coming out in the dreaded month of March. Along for the ride are reliable actors Judi Dench, Jaime Bell (Billy Elliot), Michael Fassbender (Inglourious Basterds, Hunger), and Sally Hawkins (Happy-Go-Lucky).

**Actually, it kind of reminds me of the first poster for Blue Valentine, certainly not a bad thing.

First poster for "Tree of Life" [low quality scan] and synopsis

We trace the evolution of an eleven-year-old boy in the Midwest, JACK, one of three brothers. At first all seems marvelous to the child. He sees as his mother does with the eyes of his soul. She represents the way of love and mercy, where the father tries to teach his son the world’s way of putting oneself first. Each parent contends for his allegiance, and Jack must reconcile their claims. The picture darkens as he has his first glimpses of sickness, suffering and death. The world, once a thing of glory, becomes a labyrinth.

From this story is that of adult Jack, a lost soul in a modern world, seeking to discover amid the changing scenes of time that which does not change: the eternal scheme of which we are a part. When he sees all that has gone into our world’s preparation, each thing appears a miracle—precious, incomparable. Jack, with his new understanding, is able to forgive his father and take his first steps on the path of life.

The story ends in hope, acknowledging the beauty and joy in all things, in the everyday and above all in the family—our first school—the only place that most of us learn the truth about the world and ourselves, or discover life’s single most important lesson, of unselfish love.

It's very simple and direct, but very effective. The vague details of the synopsis have been summed up before, but it's nice to see such a detailed look at Malick's vision. Hopefully this means that the film's current May release is closer to being cemented.

Final poster for "Prince of Persia"

First poster for "Transformers: Revenge of the Jedi...um...Fallen" (2009) and "Sunshine Cleaning" (09)