Movieline is pleased to present the first installment of One-Sheet Wonder, a new column on the best, worst, weirdest and other milestones of contemporary movie-poster art. — Ed.
We?re a little more than two months away from the debut of the Cannes Film Festival opener Moonrise Kingdom, Wes Anderson?s first live-action film in five years, and the promo push is on. The first trailer hit a while back, and the first poster was revealed last week. And while the trailer is an exhilarating promo clip, on first glance it?s easy to dismiss the poster. It feels minimal and rather meh overall, like a starving-artist, Bob Ross knock-off masquerading as a one-sheet ("Look at that happy little waterfall?").
But since The Life Aquatic, posters for Anderson?s films have trended to a less-is-more approach. The Darjeeling Limited, for example, focused on, essentially, a snapshot of the three leads in a moment of quiet introspection, whereas Rushmore is all about bombastic (Photoshopped) revolution. The reason for this change is Anderson?s movies, increasingly, have been sold to his fans rather than audiences at large. Not surprisingly, this began with The Royal Tenenbaums as Anderson established his unique visual style. Since then, his posters have become more conceptual and more for his acolytes. (Fantastic Mr. Fox ? aimed squarely at kids with its kooky, busy everything-but-whackbat design ? is the exception.)
Moonrise Kingdom is the zenith (so far) of this marketing strategy. It?s not very active, but it picks up many of Anderson?s trademarks. Sam and Suzy, the film?s leads, are in full-on Anderson mode ? Sam carries a popgun and pulls his best young Bud Cort impression…
Eva Longoria Eva Mendes Evangeline Lilly Eve Fergie Foxy Brown Freida Pinto
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