Neverending
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Post by Neverending on Feb 19, 2024 16:51:01 GMT -5
not even a nod for Gladstone. She been running her mouth about the Kansas City Chiefs. That don’t fly with Drac. |
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PG Cooper
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Post by PG Cooper on Feb 19, 2024 17:28:28 GMT -5
not even a nod for Gladstone. She been running her mouth about the Kansas City Chiefs. That don’t fly with Drac. The Swiftie in him cannot abide that sort of badmouthing. |
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Dracula
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Post by Dracula on Feb 19, 2024 18:49:11 GMT -5
Gladstone knows all too well what she did and I won't shake off this bad blood
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IanTheCool
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Post by IanTheCool on Feb 19, 2024 20:06:15 GMT -5
Sounds like karma
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donny
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Post by donny on Feb 20, 2024 7:56:20 GMT -5
The right choice for actor. Nice to see Joaquin and Jason get nominated too, neither got much love from the awards circuit, so that was cool. Hoping to see Howerton in here for BlackBerry, but alas, tough competition.
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Dracula
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Post by Dracula on Feb 20, 2024 8:14:54 GMT -5
Best Acting EnsembleThe acting ensemble award is an award for the collective acting of an entire cast, the overall casting philosophy of a movie, and how well all the performers gel together. For this award I like to focus specifically on movies with casts that specifically work in ways that can’t easily be reflected in the individual acting categories, so movies like Past Lives which have smaller casts that were already nominated elsewhere may be disadvantaged. Barbie: This movie obviously has Margot Robbie at its center and has Ryan Gosling as her primary foil, but the cast runs really deep beyond that. The film’s Barbie World is populated by cannily chosen faces like Issa Rae, Simu Liu, Kate McKinnon, Kingsley Ben-Adir, Alexandra Shipp, and Michael Cera all of whom fit the aesthetic without seeming completely obvious. Then on top of that the film’s “real” world is also stacked with people like America Ferrera, Ariana Greenblatt, Rhea Perlman, and Will Ferrell all taking strong turns. Imagine that, there’s a comedy at the top of the box office and the cast is so stacked that the fact that it prominently features Will Ferrell seems like a footnote.
The Iron Claw: In The Iron Claw Holt McCallany plays professional wrestler Jack Von Erich as a stern patriarch who enforces a particularly toxic form of masculinity, he and his wife played by Maura Tierney had a lot of sons many of whom needed to be cast in this movie. Our focus is on Kevin Von Erich played by Zac Efron, a particularly smart bit of casting as you can tell that under all that muscle he’s a pretty boy rather than a gruff man’s man making him different from his brothers played by Jeremy Allen White, Harris Dickinson, and Stanley Simons. We also get strong work from Lily James as the Efron character’s wife as well as various look-alikes playing the various foes of the Von Erich brothers in the ring.
Oppenheimer: For a movie that’s named after a single central character it’s kind of crazy just how many other historical figures are present in Oppenheimer and how many prominent character actors Nolan was able to recruit to portray them. Obviously you have the core cast of Cillian Murphy, Robert Downey Jr., Emily Blunt, Florence Pugh, and Matt Damon, but once you get past those huge stars you find a movie loaded with Oscar winners like Casey Affleck, Rami Malek, and Gary Oldman essentially doing walk-ons mixed in with Nolan regulars like Kenneth Branagh and Matthew Modine. And that doesn’t even scratch the surface, I could keep listing people.
Saltburn: Saltburn is a movie that exists in a somewhat heightened and satirical world and needs to be pretty heavily populated by people who are kind of on the same page about this. The Catton family at the center of it is populated by some pretty impressive talent including Jacob Elordi right as his career is white hot, Rosamund Pike as his mother, Richard E. Grant as his father and Alison Oliver as his sister, not to mention other various hangers on played by the likes of Archie Madekwe and Carey Mulligan who all eventually find themselves perhaps unwittingly dueling it out with Barry Keoghan, another actor who found his way into this project at the height of his popularity. It’s a really hip cast that matches the timeliness of the film.
You Hurt My Feelings: The cast of You Hurt My Feelings are tasked with doing things that are a bit too low key to honor in a lot of the individual performance categories but when taken as a whole the accomplishments of the cast deserve some recognition. Julia Louis-Dreyfus is not the rangiest actress but her skillset is well used in Nicole Holofcener movies and Tobias Menzies feels just right as her husband here. Beyond that there’s something of a who’s who of indie character actors in the supporting cast including Michaela Watkins, Arian “Stewy from Succession” Moayed, David Cross, Zach Cherry, Amber Tamblyn, and Owen Teague all working in harmony with the low key vibe of the movie. And the Golden Stake goes to…OppenheimerI don’t like this category to just come down to the sheer number of celebrities who show up but… damn, this thing really tops itself. But it’s not just big names that matter here in addition to all the people I named above there’s also great work here by people like Jason Clarke, Benny Safdie, Tom Conti, Dane DeHaan, Alden Ehrenreich, Matthias Schweighöfer, and Alex Wolff in addition to good work by people with even less recognizable names. These people are all effectively playing real people too and meeting the various challenges of that and they mostly avoid resorting to stunt casting and the like. There are a couple of sour notes in there (not a fan of Oldman or Malek here) but in the midst of a symphony of acting talent this deep that hardly matters.
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PG Cooper
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Post by PG Cooper on Feb 20, 2024 8:23:48 GMT -5
It can be reductive to equate Best Cast with Most Celebrities but sometimes the shoe fits.
I also kind of love Oldman's appearance.
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PhantomKnight
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Post by PhantomKnight on Feb 20, 2024 8:57:14 GMT -5
If this hadn't won, I would've been surprised.
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Dracula
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Post by Dracula on Feb 21, 2024 7:26:57 GMT -5
Best Line of DialogueAnd here we get to the famous category for best quote… always a difficult category for me as the most iconic lines often take a while to really percolate before they stand out to me. Often I’m able to cheat and see what other publications are saying on the topic but for whatever reason this year there weren’t even that many articles on the topic. Here goes… “Sometimes a couple is kind of a chaos and everybody is lost. And sometimes we fight together, and sometimes we fight alone, and sometimes we fight against each other, that happens.” – Anatomy of a Fall: This little speech comes in the middle of a somewhat heated testimony form Anatomy of a Fall in which the therapist of the slain husband in the relationship is testifying about how the couple were fighting and the accused interjects to assert why she thinks this testimony is unfair to her. In the middle of that explanation she comes up with this turn of phrase which sort of doubles as a thesis statement for the central message of the film, which is that marriages are complicated and hard to explain and that the conflicts therein are deep and kind of hard to know and that good and terrible things can arise from the chaos that is monogamy.
“You can’t wake up if you don’t fall asleep.” - Asteroid City: There are certain cases where you wonder if the line in question is truly memorable or if it just sticks in your head because it gets said over and over in the film. I ultimately cut the “stick to the plan” mantra from The Killer out of similar concerns but this line from Asteroid City I think is repeated specifically because it’s important and kind of strikes to the heart of what the film is saying about grief: namely that you need to get through the darkness in order to get back into the light. That’s not exactly the most complicated or original message but it’s expressed in an interesting way throughout the film and is given a nicely direct summation through this line as it’s spoken by the acting class in a slightly cryptic way late in the movie.
"She thinks I'm a fascist? I don't control the railways or the flow of commerce!" – Barbie: This probably isn’t the funniest or most quotable line from Barbie by any means but it does I think speak to something of an important point. It’s delivered shortly after Barbie has been told off by the Ariana Greenblatt character culminating in her being called a “fascist” in that hyperbolic way that young activists tend to throw around the word. This devastates Barbie and she says this line while crying in disappointment. It’s phrased in a jestful way, but Barbie kind of has a point: at the end of the day Barbie dolls are just toys and getting angry at symbols like them kind of distracts from the rage that’s better directed at actual authority figures who have real control over people’s lives.
“This is just what grown-ups do” – May December: Spoken by the Natalie Portman character to the Charles Melton after an impulsive sexual encounter, this line kind of says a lot about the person being spoken to as it does about the speaker. The line speaks to the Melton character’s stunted maturity given that he seems to have gone into this encounter with an inflated idea of how deeply Portman’s character felt about him when she was more inclined to hit it and quit it, which is the kind of mistake you’d expect more from a 19 year old than a 33 year old, in part because he didn’t make all these mistakes in his teens and twenties because of what his wife did to him at a young age. That he’s gotten this rude awakening in a kind of rude and condescending way from Portman’s character kind of flips a switch in him.
“I have adventured it and found nothing but sugar and violence. It is most charming.” – Poor Things: This line actually arises relatively early in Poor Things, popping up during the Lisbon section after Bella wanders off and finds tarts and also witnesses some casual domestic violence on the streets. It’s delivered in that curt and idiosyncratic syntax that Bella employs early in the film and there’s something kind of inherently amusing about how reductive her descriptions of these experiences are. But it’s also a line that could almost just as easily be said at the end of the movie as something of a summation of her adventures through this world and its highs and lows and how neither of them are able to defeat her ultimately. And the Golden Stake goes to…May DecemberI mentioned before that this line said a lot about the person it’s being spoken to but it does say a lot about the speaker as well. Portman’s character says that this is what grown-ups do but… uh, not all grown-ups? There are certainly plenty of philanderers out there but in general cheating on one’s partner with a married former sexual assault victim is in fact behavior that’s generally frowned upon and her justification that it’s normal adult behavior is kind of projection. This dismissive attitude also kind of underscores how messed up this whole encounter was even if it was technically legal, in her own way she exploited this Melton character as much as his wife once did and she did it with even worse intentions.
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PhantomKnight
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Post by PhantomKnight on Feb 21, 2024 16:15:52 GMT -5
I still need to give that a shot.
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Dracula
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Post by Dracula on Feb 22, 2024 8:57:16 GMT -5
Best Adapted ScreenplayMoving into the screenplay categories with this category for writing that’s adapted from other works and intellectual properties. For the record, yes, like the Academy I view this as the correct category to place Barbie, and no it didn’t get nominated here despite that. The Eight Mountains: Written by its eventual directors Felix van Groeningen and Charlotte Vandermeersch, The Eight Mountains is an apparently rather faithful adaptation of Paolo Cognetti’s novel of the same name and you can certainly see those literary roots in it. In fact out of these nominees this might well be the one that’s least radically adapted but that’s not necessarily a bad thing; there’s a real charm and skill in keeping the pacing and feel of a novel when bringing it to the screen while still making it flow as cinema. The screenplay is set over multiple years and feels like a pretty deep dive into a friendship and brings a lot of interesting details into each characters’ lives.
Oppenheimer: For Oppenheimer Christopher Nolan opted to rely on Kai Bird and Martin Sherwin’s Pulitzer winning 700+ page biography “American Prometheus” but took several steps to make this screenplay Nolan to its core. For one thing, he employed a characteristically complex story structure by dividing the film into two points of views and chronologies via separate framing stories but did it in a way that’s rarely confusing. He also wisely doesn’t shy away from the density of the story or the sheer number of characters and doesn’t over explain certain figures or concepts but he also doesn’t make the film cryptic or inaccessible.
Poor Things: The Alasdair Gray novel that Poor Things is based on is a book that some had assumed was unadaptable but Yorgos Lanthimos long felt like it was a challenge worth taking on and he handed the challenge off to Tony McNamara, one of the writers of The Favourite. That book was apparently supposed to be some sort of allegory for Scottish nationalism and was told from multiple different perspectives. The movie drops that and instead focuses on Bella as a central character and her quest for female autonomy and is fearlessly willing to potentially alienate audience with stylistic flourishes and uniquely shaped dialogue.
Spider-Man: Across the Spider-Verse: It’s probably easy to overlook something like Spider-Man: Across the Spider-Verse as a writing accomplishment given how visual it is and how infamous animated films are for sort of being built in storyboard form and iterated over time, but just about everything that works in the movie was right there on the page. The screenplay employs an unconventional story structure that doesn’t bring our hero in right away and also manages to explain a lot of strange multi-verse ideas in original and understandable ways while also being filled with wit while also knowing when to lean into emotion and character development.
The Zone of Interest: The Zone of Interest is based on a novel of the same name by the late Martin Amis but apparently it largely just takes the basic idea of looking at the banality of evil through the eyes of the Höss from the novel but departs significantly from there. The book fictionalizes the family more heavily and has them getting involved in affairs and melodrama while the movie opts to skew closer to actual history and just live in the presence of these monsters and contemplate how the processed what they were doing. Beyond that there’s just a boldness to being able to write a screenplay like this which just sits with this material rather than trying to overdo things at every turn. And the Golden Stake goes to…OppenheimerBecause Christopher Nolan is coded as a “visual” storyteller an shoots his movies on IMAX there’s been a strange impulse on the part of some awards bodies to view Oppenheimer as more of a directorial triumph than a writing triumph despite the movie being a talky and dialogue driven drama that employs a complex story structure that needed to be meticulously calibrated at the script level. You don’t earn a billion dollars making a movie in which people talk about politics and science for three hours unless you’ve honed your storytelling perfectly on the page.
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PG Cooper
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Post by PG Cooper on Feb 22, 2024 9:39:49 GMT -5
Wooooooo.
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PhantomKnight
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Post by PhantomKnight on Feb 22, 2024 18:41:35 GMT -5
The right choice.
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Dracula
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Post by Dracula on Feb 23, 2024 8:22:18 GMT -5
Best Original ScreenplayUsually in these awards either adapted or original ends up being the stronger category and I have to compromise in order to fill up one or another but that didn’t really happen this year, I think both of these screenplay categories are equally competitive and I had a lot of great options to choose from in both. Asteroid City: Wes Anderson is so widely known for his meticulous direction and large casts that sometimes people overlook his writing, and there are times when that’s maybe warranted but Asteroid City was not one of those times because it’s in a lot of ways one of Anderson’s deeper and more meticulously calibrated works in a while. Employing a rather clever use of framing story to recontextualize the main drama as a “play within a film,” the movie serves as a very exploration of grief and the existential implications of what it means to not be alone in the world and in the universe.
The Holdovers: I usually think of Alexander Payne as a writer first and a director second… but I’m not really sure why. He’s always written his screenplays with co-writers and in the case of both Nebraska and The Holdovers he doesn’t have a screenwriting credit at all. This was in fact written by a guy named David Hemingson, who originally wrote it to be a television pilot but Payne convinced him to turn it into a feature which seems to have worked out great for all involved. The screenplay covers familiar territory but brings enough humanity to the proceedings to make it feel fresh.
Monster: Hirokazu Kore-eda usually writes his own screenplays but his latest film is an exception to this. Written by a guy named Yuji Sakamoto, the film differs from the “slice of life” approach that Kore-eda is known for and is instead an intensely plot driven film with a complex chronology rooted in the idea of different events seeming different when you see it through other points of view and get the fuller picture. On top of that I think the screenplay has some interesting things to say about the way things are pushed under the rug rather than confronted directly in Japanese society.
Past Lives: Celine Song had mostly worked as a playwright before writing the screenplay for Past Lives, a movie that is pretty clearly inspired by her own life story and experiences she had. She seems to have adjusted to the world of film really nicely however and where autobiographical stories like this all too often feel self-indulgent but Song actually lived through some genuinely interesting stuff and made some really canny choices in terms of how she wrote them into her screenplay. She gives the film a strong structure and perfectly captures each of her three principal characters and never sends the story off into stupid directions.
The Teacher’s Lounge: The Teachers’ Lounge was written by its director İlker Çatak and a co-writer named Johannes Duncker, who were childhood friends and their screenplay is partly inspired by something that happened to them during their school days and partly by something that happened to Duncker’s sister, who is a math teacher. Beyond that I’m not sure how much research they put into the topic but the film they made certainly feels authentic to the inner workings of schools while also acting as both a very human story about a situation that goes off the rails and as a larger societal allegory. And the Golden Stake goes to…Past Lives  Past Lives’ screenplay doesn’t necessarily have the showiest dialogue or the most complex structure but it still stands out in its own more low key way just the same. The film just has this incredibly mature outlook on its characters and their situation and it presents them in just the perfect way and with things being left unsaid when they need to be unsaid, but spoken when that feels appropriate as well. It’s all extremely naturalistic and extremely restrained but never dull and never indulgent. Just a perfectly calculated and calibrated piece of writing.
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PhantomKnight
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Post by PhantomKnight on Feb 23, 2024 8:34:55 GMT -5
Good choice, but I would've gone with The Holdovers myself.
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PG Cooper
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Post by PG Cooper on Feb 23, 2024 10:21:33 GMT -5
My pick as well for the exact reasons you listed.
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donny
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Post by donny on Feb 23, 2024 14:20:28 GMT -5
Strong year of nominees for this year. All good options.
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Dracula
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Post by Dracula on Feb 24, 2024 7:20:50 GMT -5
Best TrailerWe now move into the advertising awards with the Best Trailer category. As always my eligibility for this is based on the year the movie came out, not necessarily when the trailer was released, and I’m limiting it to trailers for movies I’ve seen so I can know if it’s an accurate representation of the movie and isn’t spoilery. Overall I think this was kind of a weaker than usual year for trailers but I still found quite a few to choose from once all was said and done. Elemental (Teaser):
This subway set teaser for Elemental is notable in that I believe it consists entirely of footage that isn’t in the final film. It’s instead a sort of short film unto itself that was possibly an internal proof-of-concept film that introduced the nature of this strange “element city” and how the various element people would interact with each other ending with the meeting of Wade and Ember, albeit in a more low key meet-cute than what’s in the final movie. Set to the lounge-y tune "Hell n Back" by Bakar the whole piece just as a pleasant vibe and is a creative way to present the film to the public. John Wick: Chapter 4:
There’s something kind of special happening when a trailer can pick a piece of music that’s kitschy and ironic but then have it just work sincerely. Setting a John Wick trailer to Terry Jacks’ “Seasons in the Sun,” a kitchy but rather morbid piece of 70s AM gold, would seem to be a total joke and yet given the way the movie ends it proves to have a few more layers of meaning than you might have expected. The orchestrated version they use proves very effective though and the trailer is cut together kind of perfectly, giving you just a taste of all the action scenes without going too deep into them. The Guardians of the Galaxy Vol. 3:
The trailer for The Guardians of the Galaxy Vol. 3 opens with a gag, Drax throwing a ball at an animal kid’s head, but after that the trailer quickly makes it known that things are going to be a big different and a bit more dark this time around. For one, the spot is set to “In the Meantime” by 90s alt rock rockers Spacehog instead of the kind of 60s and 70s pop you’re used to from the series but more importantly the trailer focuses less on jokes than it does on the film’s epic science fiction visuals and some of the darker elements of that Rocket storyline. That shot of Rocket tangoing with the otter girl really stands out and it all comes full circle when the “we are” chant form the song segues into a triumphant “we are Groot!”
Maestro (Full Trailer):
Maestro is not the easiest film to market but the team at netflix managed to cut together a really strong piece that may well be more effective than the actual movie. The trailer starts with one of the last lines of the film, spoken by the elder Bernstein quoting something his deceased wife told him, and then kind of works backwards to point where she actually told it to him. The material in between is mostly set to the music from the big conducting scene and it piece together some of the strongest images from the film while also using those visuals to introduce most of the themes and conflicts of the film. It’s a strong piece of work without resorting to gimmicks. The Zone of Interest:
Treating movies about human events like the holocaust as products to be advertised is something of a necessary evil and is something to be done with extreme care. On top of that, The Zone of Interest is just generally a hard movie to cut a trailer for given that it’s a movie about very banal evil with much of what happens in it being banal domesticity made disturbing through context. This very brief trailer is true to the nature of the film but adds the menace to the proceedings through Mica Levi’s score, which is kind of given more of a workout here than it does in the actual movie and also through some canny flashes of critic quotes in-between the images. And the Golden Stake goes to…The Zone of InterestNormally this award goes to the trailer that makes me pump my fist and say “fuck yeah” to how well it’s cut and how well it uses music. Needless to say, this trailer doesn’t do that, in no small part because The Zone of Interest is not a normal movie and advertising it is a special challenge that I think this trailer lives up to perfectly. In the tradition of other stark movie trailers like The Shining this almost feels like it’s own rather disturbing piece of art unto itself and every time I’ve seen it turn up at a theater screening inbetween ads for “normal” movies it’s been quite the jolt.
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Dracula
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Post by Dracula on Feb 24, 2024 7:52:50 GMT -5
Bunch of honorable mentions for this: The Killer
Probably the last cut, was probably one clever song choice away from greatness
Past Lives
Good example of how to make an honest trailer about a drama, I just think it maybe gives a smidge too much away.
Killers of the Flower Moon Really energetic trailer... almost misleadingly so, makes the movie look more exciting than it is.
The Creator (Teaser)
Very good intro to the visuals, cut together quite well, but I will say that the Aerosmith song choice was a little basic. Are You There God it’s Me Margaret
Great song choice on this one but the visual element is just kind of fine Beau is Afraid
Same with this one, cool song choice but this movie is just kind of impossible to make a coherent trailer to. Barbie (Teaser)
Would have been more impressed by this if the whole 2001 parody had been shot exclusively for the trailer, feels less impressive since it's the opening of the actual movie
Evil Dead Rise
I hate the song Que Sara Sara in most contexts so the fact that they almost make it work here is impressive.
They Cloned Tyrone
Expertly cut trailer with a good song choice, but it spoils too much and for that reason it's automatically disqualified. Ant-Man and the Wasp in Quantumania The Marvels
For all the troubles Marvel has had this year, they can't blame the marketing. All three of their movies came with solid trailers with fun song choices.
The Iron Claw
The Don't Fear the Reaper song choice makes more sense knowing the story behind this now.
TMNT: Mutant Mayhem (teaser) Yes you can.
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PG Cooper
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Post by PG Cooper on Feb 24, 2024 8:26:22 GMT -5
Oppie shutout is surprising.
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IanTheCool
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Post by IanTheCool on Feb 24, 2024 9:31:29 GMT -5
I woulda given it to Guardians
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PhantomKnight
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Post by PhantomKnight on Feb 24, 2024 11:52:19 GMT -5
I dunno, the Beau Is Afraid one has really stuck with me. Excellent use of Goodbye Stranger.
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frankyt
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Post by frankyt on Feb 24, 2024 14:13:26 GMT -5
Feel like zone is my big blind spot this year - will try to remedy that with the baby tonight.
He's very cultured.
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Dracula
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Post by Dracula on Feb 25, 2024 7:59:52 GMT -5
Best PosterOut second advertising award looks at the one-sheet posters that decked movie theaters this year. Like with the trailer award, eligibility is based on the year of the movie’s release rather than the year the poster came out. Also note that I like to focus only on official posters from the U.S. release of the movie in question, the ones they actively used in advertising, rather than any variant of foreign posters. American Fiction: It doesn’t take a lot of explaining to see how this poster would be an illustration of what the movie’s about. It has a pretty standard photograph of Jeffrey Wright standing in a suit and adjusting a tie but then on top of that someone has drawn a bunch of stereotypical “hood” accessories like gold chains or a toothpick or a cocked to the side baseball cap. It’s not a subtle image, it illustrates how the character in the movie is one thing but pretends to be another, or perhaps more provocatively that society will try to put that on him even if he doesn’t want it to. Also note that the rings on the bottom hand spell “lie” instead of “life.” Clever.
Anatomy of a Fall: Honestly it probably didn’t take a genius to come up with this as a logical poster image, one might even say it would be impossible not to come up with it, but it works dammit and it’s executed really well here. The simple shot from above look at the dead body post-fall with mother and son looking down at the body in the snow seems almost tailor made to show up on a poster but it was smart to just place that on the top here and allow most of the rest of the poster to be filled with negative space but with a big prominent title atop it with each word taking up its own line.
El Conde: Netflix actually commissioned three different quite strong posters for El Conde but this is probably the one that has ultimately come to be the main advertising image for it. The poster has Jaime Vadell as Augusto Pinochet in what could well be an actual historical photograph sitting with a serious frown on his face, but this is cannily subverted by imposing these hot pink sunglasses over him which matches the similarly colored typeface of the title. The message is clear, this is a movie about Pinochet and views him as a threat, but its one that’s going to knock the dictator down a peg or two in some irreverent ways.
Knock at the Cabin: M. Night Shyamalan has done really well in this category in recent years, perhaps because he’s been self-producing his films and has some say over the posters that get released for them. Dude has a penchant for Saul Bass tributes and this poster is almost certainly invoking Bass’ poster for The Man With the Golden Arm what with the jacked up stylized arm coming down from the top and the fact that the four intruders from the film are outlined in-between the fingers is just a really cool idea and the actual cabin is centered in the poster as it should. Using that imagery to invoke a home invasion without showing it is a smart move that and the red/white/black color scheme works nicely.
Passages: This is another nicely minimalist poster that uses these boxes to sort of illustrate how this is a movie in which Franz Rogowski cheats on the Ben Whishaw character with the Adèle Exarchopoulos character. It’s not exactly the most complex idea but it’s executed in a way that feels particularly dignified here and the poster has something of a retro 70s feel without being too try-hard about it. There are other bits of smart graphic design here like putting Exarchopoulos’ name below the title instead of above the title like the guys’ names are to show how she exists outside the relationship, and I also like how the logos and credits are placed along the bottom. And the Golden Stake goes to…American FictionThis is kind of one of those images that just speaks for itself and I’m a bit at a loss for words as to what to write about it. It has a pretty smartly chosen blue and gold color scheme and the underlying photograph really feels like it depicts Wright just minding his own business even though it was likely taken with the final product in mind. I’d also say that whoever drew the gold stuff on top kind of killed it by finding just the right balance between solid drawing and rougher “street art.”
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PG Cooper
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And those who tasted the bite of his sword named him...The DOOM Slayer
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Post by PG Cooper on Feb 25, 2024 8:40:19 GMT -5
Good pick. Feels doubly impressive given the film's genre doesn't inherently loan itself to cool posters but this one is and cuts to the core of the film perfectly.
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