Saturday, February 16, 2019

Halloween (2018)

Director: David Gordon Green
Starring: Jamie Lee Curtis, Judy Greer, Andi Matichak, James Jude Courtney, Will Patton, Virginia Gardner, Haluk Bilginer, Toby Huss, Jefferson Hall, Rhian Rees, Dylan Arnold, Miles Robbins, Drew Scheid, Jibrail Nantambu
Running Time: 106 min.
Rating: R

★★★ (out of ★★★★)

Of all the horror sequels, prequels and reboots, none have beaten into the ground quite like Halloween. Michael Myers' origin story has been told and retold so many times that you have to wonder how even the hardest of hardcore fans haven't reached the point of complete exhaustion. How many times can The Shape escape from the mental hospital and wreck havoc on Haddonfield? Or come back "home" to the Strode house? Even with this newest Blumhouse-produced incarnation of the property directed by David Gordon Green and co-writtten by Danny McBride arriving in time for the original's 40th anniversary and being co-produced and endorsed by John Carpenter himself, its biggest hand was already been played. Jamie Lee Curtis reprised her legendary role of Laurie Strode in 1998's underwhelming Halloween: H20 with mixed results, mostly due to the lack of any long-term vision for the character.

Now accompanying Curtis' return is a pesky continuity problem that Green and McBride believe they can solve. Just retcon the whole thing. Or at least every film that followed the 1978 original, which remains highly regarded enough to make this experiment worth a try. Gone are all the returns of Myers, who we now learn has been confined to a mental hospital for the past four decades following his October 31st killing spree. Wiped away with it are any revelations that came in subsequent installments, including the big one that Laurie is Michael's sister.

While all of this sounds fine and good on paper and it's tough to argue few better options exist, it sure is asking a lot from fans. Or is it? Aside from the Myers-less, but underrated Halloween III: Season of the Witch and Rob Zombie's polarizing Halloween II, none of the previous entries have ever truly attempted something different. By committing to this crazy idea, Green's film forces the series to go a little out of its comfort zone, resulting in one of the more skillfully made outings since Carpenter's classic. Given the talent involved, that isn't much of a surprise. even if it comes at a cost. Whatever disappointment comes from the realization that it still, for better or worse, feels like a Halloween movie, stopping short of transcending the genre to become something more. You could argue that would always be too tall an order, but this sequel does feel as steeped in the year it was made as the original likely did in 1978.

With the "#MeToo" movement permeating through its female-driven empowerment narrative, it does away with away attempts to "understand" Michael Myers, even going so far as to mock the current criminal psychology boom surrounding serial killers. A welcome return to Carpenter's initial idea of the faceless, random form of evil known as the "Boogeyman," this had to be one of the toughest installments to plan. The results aren't always entirely successful, but Green deserve credit for not only pulling this off, but crafting a worthy successor that's as thrilling to discuss and dissect as it is to watch.

The 40 years since towering, emotionless killer Michael Myers terrorized Haddonfield on Halloween night haven't been kind to Laurie Strode (Curtis). Psychologically traumatized by his attack, the now sixty-something survivalist is twice divorced and estranged from her adult daughter, Karen (Judy Greer) who was removed from Laurie's care years ago when the state determined her overprotective, vigilante parenting methods crossed a line. Living in an isolated compound decked out with heavy artillery and security, she drinks a lot and obsessively prepares for Michael's potential return, waiting for the moment she can finally get her revenge.

Laurie's only lifeline is Karen's teen daughter Allyson (Andi Matichak), who, despite her mom's desire to shut the door in any relationship with Laurie, feels a connection to her grandmother. But the past returns in a big way when true-crime podcasters, Aaron Korey (Jefferson Hall) and Dana Haines (Rhian Rees) arrive at Warren County Smith's Grove's Sanitarium to visit Michael before he's transferred to a new facility while under the care of his long-time psychiatrist, Dr. Ranbir Sartain (Haluk Bilginer). Seeing dollar signs in both exploiting and humanizing Michael, they plan to stage a reunion between him and Laurie under the guise of giving her "closure."  Laurie wants none of it, but may not have a choice when his transport bus crashes and he comes home. This time she's ready, but all three generations of Strode women will have to band together in order to defeat the embodiment of pure evil.

Aside from the spectacular opening title sequence that pays direct homage to the '78 original, but with a clever twist, the first half-hour of Green's picture is its weakest. This isn't to say it fails or even takes too long to get going, but rather that our entry point hinges on three unlikable characters we don't know and aren't particularly invested in. So even while the idea of introducing true-crime podcasters trying to drum up publicity and sympathy for Myers' cause is a timely one, something still feels off about the execution. Early on, we sniff out their only purpose in the story: Allowing Michael to reclaim his mask.

Similar claims can be leveled at the character of Dr. Sartain, who could easily be labeled as a poor man's Dr. Loomis until the full complexity of his motivations come into play. And even then, the unflattering comparisons to Loomis (whom he "studied" under) are inescapable. But at least leading off with the Sanitarium spares us enduring yet another "It's Halloween in Haddonfield. Will he show up?" opening. It also provides us the most visually arresting image of the entire film,a wide shot of the hospital's courtyard with patients lined up on what looks like a giant chess board, with a maskless Myers' back turned to his nervously approaching visitors. It works on many levels, including the obvious one, that these three are really only pawns in his game, one in which he'll soon be claiming new victims. 

Myers has had a lot of returns home to Haddonfield throughout the illustrious history of this franchise, but Green makes a number of different choices that stand out, resulting in the one of the stronger stretches of both physical and psychological suspense we've seen since the series' inception. While the killing starts early, Green recognizes, with one or two big exceptions, the need to not show us everything, leaving at least a little to the imagination. It's pretty much the opposite of Rob Zombie's gorefest, which worked to a certain point for the type of movie he made, for all the good and terrible that entails. But Green's more of a chameleon who can slip in and out of different styles and is capable of hiding a few tricks up his sleeve. The film's middle portion is a showcase for that, as he not only manages to hide some of the more tired genre tropes with visually interesting choices, but also slides in a few winks and nods for fans that make sense for this story without excluding more casual viewers.

The screenplay succeeds in getting back in touch with Michael as this random, undiscriminating killer, which seems to have fallen by the wayside in recent installments. It feels like Halloween night with the streets lined with kids everywhere as Myers just aimlessly walks on the streets and sidewalks and through the crowds scoping out houses. While more establishing shots of Haddonfield would have helped in establishing a greater sense of time and location (something the original had in spades), the newest generation of supporting characters are given suprisingly adequate development, unburdened with carrying the entire film on their shoulders like so many other unsuccessful entries horror entries. This time, most of the heavy-lifting is done by Curtis, who we know can handle it, and does.

Treating the assault she suffered 40 years ago at the hands of The Shape with the gravity and seriousness it deserves, Curtis is afforded the opportunity to add a dimension of reality to the character she originated that some of the goofier sequels prevented. H20 attempted this approach, but it's refined here. The hunted becomes the hunter, as years of buried trauma create this alcoholic, PTSD-suffering survivalist whose obsession with revenge ruins whatever relationship she could have with her own daughter.

Judy Greer's Karen has gone in the opposite direction, believing her mom to be a drunken kook, compartmentalizing her own childhood and choosing to instead see the world as all sunshine and rainbows. We know what will eventually occur to destroy that illusion, but it's hard not thinking this continues the streak of movies underutilizing Greer, with a role that exists primarily as a bridge for Laurie passing the torch to granddaughter Alysson. Still, it was smart making Curtis again the franchise's centerpiece and having her family's legacy be the orbit around which the story revolves. Nor does it hurt that the film inadvertantly walked into a cultural moment involving attack victims and survivors.        

In her first big screen role, Andi Matichak isn't yet called upon to be the "new Laurie" as Scout Taylor-Compton was in Zombie's reimagining, but acquits herself well as the smart, head-strong Allyson. She's caught in the middle of the family feud between her mom and grandmother and a sub-plot involving boyfriend Cameron (Dylan Arnold) that seems to come and go, despite his faint ties to the original film. Of course, she'll eventually come face-to-face with Michael and while Matichak's role isn't huge, she definitely leaves her mark, instilling some optimism in those wondering if she's capable of taking the wheel of the inevitable sequel(s). But it's the interactions with her friends that provide more of the film's meta social commentary, including a take on why anyone should still care about Michael Myers' crimes in a day and age where mass killings seem to occur every other minute.

Despite her biggest jump scare being spoiled by the trailer, Virginia Gardner also manages to leave a lasting impression as babysitter Vicky, briefly bringing charisma and personality to the most thankless of horror movie characters. Her verbal interplay with young Julian (Jibrail Nantambu), whom she watches, is such a highlight you wish there was more. But we're quickly brought back down to Earth and reminded that, yes, we're still just going through the motions of a requisite Halloween entry where characters exist solely to bolster the kill count or advance plot. Adult characters are even more disposable, treated as an afterthought with little or no development at all.Will Patton's Sheriff Hawkins has a very tangetial connection to the '78 killings that seems tossed in, while the great Toby Huss does what he can with the limited role of Karen's husband and Allyson's father, Ray.

Between nameless cops and bystanders, podcasters and a Dr. Loomis stand-in, there are a lot of superfulous characters whose chief narrative purpose is to get Michael to Laurie's safe house for the eventual showdown. But even with more plot than seemingly necessary, we're treated to some real flashes of brilliance along the way, including a suspenseful kill sequence involving motion sensors that's heightened by John Carpenter, Cody Carpenter and Daniel Davies' new score. Remaining faithful to the original while adding guitar flourishes that bring it into the modern era, this is the best Halloween's ever sounded. Directors scoring their own films was pretty rare in '78 so having Carpenter return to the studio alongside his two collaborators, not only feels and sounds like the right choice, but utilizes him for more than just his usual story or producing credit. And his work couldn't have turned out better, offering a welcome twist on one of cinema's most famous musical compositions.

Other call-backs are less obvious, like P.J. Soles' cameo as a teacher or the original Michael, Nick Castle, making an extremely brief apperance behind a mask now being occupied by actor/stuntman James Jude Courtney, who does Myers' justice in both movement and mannerisms. Every new film seems to spark a discussion about the mask, and this one looks good enough, appropriately reflecting the decades of age and wear you'd likely anticipate. If there's any problem with it it's that it bares almost too close a resemblance to Zombie's grungy version.

It's a testament to just how much this franchise has been through that even on the heels of a financially and creatively fulfilling sequel like this, it's still somewhat difficult to get excited for more. Jamie Lee Curtis returned as Laurie and faced off with Michael. Now what? The sequels following H20 all dealt with this conundrum and we've even seen the problem manifest itself in a non-horror capacity in the newest Star Wars series. It's tough finding that balance between the old and the new. Pleasing original fans while still attracting newer ones. No matter how many times you emphasize a fresh start they'll always be that temptation to lean back into the past, "come home" so to speak. It's a tricky balance that will only get trickier with each succeeding installment.

Halloween 2018 comes from a strange place in wanting to completely abandon and even occasionally send-up the films that came before, while remaining slavishly devoted to them at the same time, even going as far as to pay homage to certain scenes, story points and characters. In so far as translating those admittedly mixed signals in the screen, Green does as good a job as any current director could. Considering a trip back to Crystal Lake or even Elm Street would seem to hold more appeal and possibilities than yet another entry into this series, it all worked out. By reminding us of everything we've loved and loathed about the series, it pushes us forward us into the next chapter. And whatever that is, there's little doubt Michael Myers' legacy will remain at the center of it.

Wednesday, January 23, 2019

2019 Oscar Nominations (Reaction and Analysis)

For those wondering whether my recent reviewing inactivity meant I wasn't watching or at least following the films embroiled in this year's Oscar race, it's time to put that theory to bed. I have been and will pretty soon be publishing a single post rundown of at least four of them to avoid things backing up any further. As for Tuesday morning's announcement of the nominations for the 91st Annual Academy Awards (full list here) by Kumail Nanjiani and Tracee Ellis Ross, it went well. Or at least better than last year's farce with every other nominee's name being misprounced by a popular comic actress. While the format was almost too laid back and missing the big press conference atmosphere, both were pros who appeared to enjoy being there doing it. So, considering the Academy's recently abandoned attempt at a "Popular Film" category and having no present host for the show, the nominations basically went off without a hitch.

Let's face it: No one's happy when their favorites are left off or tune in on February 24th to see a handful of films nominated they've never heard of. But the Academy's recent efforts to make the Oscars more "popular" reeks of corporate greed since they're only responding to network ratings pressure. And for the record, the Oscars are annually still the highest rated awards telecast despite the fact that no one even watches broadcast TV anymore. So, sorry, ABC can bite the bullet once a year while hardcore film fanatics enjoy the night, however long it may stretch

Ironically though, with the gap between critics and audiences still growing by the minute, quite a few immensely popular movies got in and the media and public outcry for a more diverse field was heard. We also a have the first superhero movie nominated for Best Picture, as well as Netflix and other streaming services really breaking through for the first time. Me? I just want to see the best work nominated and let the cards fall where they may. It's time to find out how AMPAS did this year, with some of the more noteworthy takeaways:

-  Netflix's Roma and arthouse, um, favorite, The Favourite lead the field with 10 noms a piece and are joined in the Best Picture category by the more popular entries Black Panther, BlacKkKlansman, Bohemian Rhapsody, Green Book, A Star is Born and Vice. We get an 8 film field this year.

-Barry Jenkins' If Beale Street Could Talk and Damien Chazelle's First Man are left out of the Best Picture race, denying us a rematch between the Moonlight and La La Land directors. In the case of the former, it just couldn't pick up enough steam throughout the season outside of Regina King's supporting performance, while First Man was darker and more introspective than anyone expected from a film about Neil Armstrong. On the plus side, it did well in the technical categories and is still highly regarded by many, if not the Academy. Predicted Gosling snub aside, it even failed to snag a supporting nod for Claire Foy.

-What happened to A Star is Born? A month ago it was a lock for EVERYTHING. Now, compared to those (unreasonably?) high expectations, it may as well be considered an awards flop. Plenty of think pieces will surely be written about what went wrong, but Bradley Cooper snubbed for Director? The saddest part is that it isn't even much of a surprise given he hasn't won anything up to this point. While it's hard to call any movie's 8 nomination tally disappointing, Cooper and Gaga look very shaky in their categories and previous sure bet Sam Elliott is quickly losing traction to Green Book's Mahershala Ali in Supporting. The film's expected triumph in Best Original Song with "Shallow" just might be its sole win, assuming that isn't also now in jeopardy.

-Marvel's Black Panther (with its over $1 billion worldwide box office take) becomes the first superhero movie nominated for Best Picture, thus opening the flood gates. Or maybe not. If the quality's there, then fine. But I can't be the only one who's a little nervous they'll start nominating lesser ones. Or, after getting this out of their system, wait years before rewarding another again? Regardless of how many statues it takes home, it has changed the game.

-Bohemian Rhapsody's continued dominance (with 5 nominations) is the biggest movie story of the past year, especially if you know how troubled that entire production was and the road it took to even get to the screen, and successfully no less. Even if we're still not completely sure who directed it. But good for Rami Malek. I'm sure few thought he'd be in this spot right now competing against Vice's Chistian Bale as a frontrunner for Best Actor.

-No slight on him but Willem Dafoe (At Eternity's Gate) clearly got the underdog Best Actor spot so many hoped would go to Ethan Hawke for his critically lauded, career best work as an emotionally tormented minister in First Reformed. Instead, we'll have to settle for a first time Original Screenplay nod for Taxi Driver writer Paul Schrader, suddenly the comeback kid at age 72.

-No supporting or lead nominations for both Timothee Chamalet (Beautiful Boy) or John David Washington (BlacKkKlansman), respectively. But something had to give. There are so many slots and and a certain number of performances that can fill them. Many get left out, and it's rarely a reflection on the work. These are two unfortunate examples of such a casualty.

-Glenn Close has Best Actress locked up, with Lady Gaga, Roma's Yalitza Aparicio, The Favourite's Oliva Colman and Can You Ever Forgive Me?'s Melissa McCarthy sure to be clapping on the sidelines when she wins her career achievement award. It's a narative that's only begun to come into view in recent weeks, with The Wife gaining serious momentum thanks to her rousing acceptance speeches.  Is Emily Blunt's ommisson for Mary Poppins Returns really that much of a surprise? Given the Academy's tastes, it may be. And Elsie Fisher getting recognized for Eighth Grade was always a pie-in-the-sky longshot, mostly due to their aversion to nominating kids in lead categories.

-Spike Lee is finally nominated for Best Director for one of his most commericial and challenging pictures yet, BlacKkKlansman. Except it's starting to feel like 1989 all over again with Peter Farrelly's crowd pleasing race relations drama Green Book playing the Driving Miss Daisy to Lee's Do The Right Thing in the Best Picture Race. With its recent PGA win, it really might be the frontrunner, save for the fact that Farrelly himself isn't nominated. Was recognizing the filmmaker behind Dumb and Dumber and There's Something About Mary too far a bridge for the Academy to cross? More likely, Green Book just seems like less of a director's achievement than the competition.

-They sure do love the polarizing Vice, with Adam McKay sneaking in with a mild surprise nod. Roma's Alfonso CuarĂ³n and Cold War's Pawel Pawlikowski (unseating Cooper in the only real "shocker") become the first pair of directors of foreign language pictures to make the cut in this category, and both for black and white lensed films.

-No documentary nomination for Won't You Be My Neighbor? has to be the most egregious snub of this year's nominations. Hands down. We know they have a history of crazy decisions in this category, but there's just simply no excuse here. The outrage is justified.

-Heading into the show it seems to be a 3-way race between Roma, Green Book and, to a slightly lesser extent, Bohemian Rhapsody. Of course, we also know how that could change.

Monday, December 31, 2018

The Best (and Worst) Movie Posters of 2018

One of the more frequently asked questions about my annual compilation of this list centers around how many of the posters I actually end up purchasing and/or displaying. And it's sort of a complicated question. While the short answer would be maybe only a couple or more per year, a longer explanation draws a line in the sand firmly separating what constitutes the "best" and a "favorite." Those two don't have to be mutually exclusive, and often aren't, as successfully selling a film to audiences doesn't mean it looks great hanging up. Similarly, strong runners-up that didn't crack the top ten have sometimes prove to have a longer shelf life, undergoing renewed appreciation as a result. Good posters have sat sat around while bad ones have gone up and vice versa, sometimes tricking me into believing there's often no direct correlation between this list and personal taste. Only...there is. My choice for the Best Movie Poster of 2018 will join the ranks of Funny Games, The Master and Men, Women and Children in that it not only occupies that top spot, but also a place on the wall. But more importantly, the best ones will always make you more interested in seeing the actual film. Or if you saw the film, remind you why you liked it so much to begin with.

That this remains a somewhat exclusive club should serve as a reminder just how hard it is to stand out when it seems every other poster these days seems to look the same or employ similar concepts. If there's a theme for this year, it's "HOMAGE." For better or worse, everything seems to be taking its inspiration from pre-existing ideas. When done poorly, "copy" is too generous a criticism, as all that remains is the shallow shell of whatever the initial intention may have been. Just refer to the year's worst below to find out just how clever or funny that can be. But when done well, an original concept can be expanded upon and even improved with some creative ingenuity, to the point that it feels wholly original and more than merely a visual shout-out.

In that spirit, I tried to sort out a crowded field of one-sheets by asking what jumps out as different, and as the list will reflect, 2018 was once again a disappointment for anyone hoping the biggest mainstream blockbusters would have creatively inspired posters. We knew the day was coming, and for the first time, they've been completely shut out. Yet again, most of the choices below were from films few have seen, with an especially strong showing for documentary posters. It's also the first time the number one film appears on both lists for two entirely different designs, and deservedly so. Despite recent blog inactivity during what's been an unusually lean year for movies, you knew I wasn't missing this for anything. Remember that only official posters released in 2018 (including those for 2019 films) qualify. Runners-up and the year's worst also listed below alphabetically As usual, all images provided by

The Best...

10. Mandy

I know what you're thinking. This must be some kind of mistake. Nicolas Cage making an appearance on the "Best" list. What's so magnificent about this appropriately crazy design for Panos Cosmatos' Mandy is that at first glance you realize it does contain all the insanity accompanying the decade-plus stretch  Cage's paycheck collecting phase of his career.  But an even closer look reveals just how artfully done it is, lacking the cheapo photoshopping that's made his posters as ugly as some of his choices.  Mandy, described by imdb as focusing on a couple being brutally attacked by a "nightmarish hippie cult," could still easily be one of those disasters, but at least it hit this out of the park.

From the vibrant pink and purple color palette to ethereal image of Andrea Riseborough presiding over a perfect hallucinatory pyamid of otherworldly evilness, it sure isn't easy to shake. At its center is Cage, looking as determined and ridiculous as ever. Has he finally made a good film, or at least an intriguingly bad one? This one-sheet sells it as the ultimate head trip, piquing my curiosity to find out. It looks and feels like his best shot. And any poster that can even trick us into thinking that's possible must really be doing something right. 

9. The Man Who Killed Hitler And Then The Bigfoot

While opinions may vary on the merit of these campy B-movie tributes that seemed cribbed from the Tarantino grindhouse playbook, lost amidst speculation about the zany title's possible implications, is this one-sheet, which is a sight to behold. If you were to attempt to visually capture on paper the spirit of a film titled The Man Who Killed Hitler and then the Bigfoot, this surpasses whatever that effort could have been (and no, I don't undertand that second "the" either). While floating heads on a poster never seem to work, something about these nicely illustrated ones just do. The whole concept is perfectly laid out in such a way that the supporting players provide just that: Support for the poster's central figure and the title character, played by the legendary Sam Elliott, who's never popped on a poster quite like this. Combine that with an unusual brown/amber color scheme, details like the Sasquatch footprint over the swastika and the flames and helicopter in the background, and we have a keeper.

What pulls this all together is that giant Sam Elliott head that's just simply an amazing depiction, capturing all the intricacies of the actor's appearance and presence. There's so much going on here and yet it doesn't seem overcrowded in the slightest. While I couldn't find what agency or artist designed this, it's safe to assume they weren't paid nearly enough, especially given how much this creatively overdelivers in relation to the film's cost. And if anyone's capable of killing BOTH Hitler and Bigfoot, Elliot's your man.

8. Matangi/Maya/M.I.A.

2018 wasn't just a watershed year for documentaries, but for their posters, as four made this Top 10. With all the big studio one-sheets looking exactly the same and even the indie ones attempting to rip each other off or being too clever by half, the poster for Matangi, Maya, M.I.A. seems especially bold in its simplicity. There's nothing flashy here, as what looks to be almost a publicity phot of M.I.A. staring straight through us shares vertical space with a helicopter, airplane and (of course) a paper plane, symetrically placed between each word of the title.

Aside from how efficiently laid out this is, what really sells it is the color scheme. How many posters have you seen that use THIS shade of green as prominently, or even at all? The contrast between that, the black and the white title and paper plane make this unforgettable. Considering the doc's focused on an artist known for going over-the-top, showing restraint by resisting the urge to have the poster resemble one of her crazy album covers, feels like the perfect choice. And the message that this a movie and performer meant to be taken dead seriously is expertly conveyed in an understated image even her biggest fans couldn't have seen coming.

7. (Tie)

The Old Man And The Gun

In the list's first example of a wildly successful homage, this Robert Redford centered one-sheet for David Lowery's The Old Man and The Gun harkens back a few decades to find inspiration from his visually similar 1972 poster for Jeremiah Johnson. Considering this laid back caper was heavily promoted as the legendary actor's final on screen role, it's only fitting it be bookended with this image, which finds him giving a literal tip of the hat to his career while cleverly calling back to one of his earliest cinematic accomplishments. Just like the poster that inspired it, this one is about as stark and as simple as it gets. Cast credits on the upper right, bold red titling on the bottom left and the Sundance Kid himself strolling in an off-white landscape of negative space. In most cases, obscuring a a major star's face would seem to be PR suicide, it's pulled off succesfully here because of the ubiquity of the performer. No introduction necessary, as we somehow know exactly who this is, and are given a subtle peek as what to expect from the film.

The prolific Midnight Marauder's one-sheet for the documentary, Hal (focusing on the career of legendary director Hal Ashby) accomplishes a similar feat with its use of negative space and layout of credits. Where it wonderfully veers is in its vibrant splash of orange sun behind the black and white photo of a lounging Ashby. Besides there not possibly being a better pose that captures his attitude and philosophy toward filmmaking and life, it just pops against that grayish-white background. And while I'm not usually a huge fan of shadows, this actually works in that it seems so off-putting and unexpected. Love that corner placement of the "BELIEVE IN CINEMA" tagline. But the topper is the title being the subject's own signature, a clever choice that isn't used often enough in poster design.

6. BlacKkKlansman

Often, a single powerful image can convey better than any tagline, logline, synopsis or review what a movie's truly about. Spike Lee's BlacKkKlansman forces viewers to take a hard look at our country's shameful legacy of racism, so its only fair its poster be equally confrontational and controversial. And there's really nothing else that could more accurately convey its plot of a black police detective going undercover to bring down the KKK. Of course, we know Ron Stallworth (played by John David Washington) doesn't physically infiltrate the Klan as is depicted here, but that only makes seeing the manifestation of his efforts in this image that much more powerful.

The badge, the comb, the hood and the fist tell us everything we need to know and then some. Not to mention the effect of the burned, torn sides of the poster.  And now might also be the time to praise Spike Lee for his masterful play on the film title's spelling, done in a retro 70's blaxploitation font. I can't prove the movie wouldn't have done as well without the marketing campaign behind it, but there's no denying it helped tremdendously in properly positioning what could have otherwise been a really tough sell.

5. You Were Never Really Here (Three Versions)

Lynne Ramsay's largely unseen indie drama, You Were Never Really Here is described in its logline as being about an "embattled veteran named Joe (Joaquin Phoenix) tracking down the kidnapped pre-teen daughter of a state senator." Many have yet to catch up with the film, but it's strikingly original series of theatrical posters are much harder to evade. The inclusion of all three in this spot would seem to suggest they're each covering equal ground in terms of quality, which that wouldn't be far off. But that doesn't preclude the fact that the last one is simply astounding, as Phoenix literally breaks through the ocean surface title and plumetts underwater toward the credits below. It's hard not to just stare in awe at that design choice, as few recent one-sheets have used its title or spacing in as compelling a way. The first one is a real throwback in the best possible sense, with Phoenix's pensive-looking character carrying the girl through the darkness, her bloodied hands dangling next to the title. That motif is revisted in the Saul Bass-inspired minimalist design of Version B, that sees him immersed in the hand's bloody trail, as if the image itself is also leading us along with a unique overhead viewpoint.

4. The King

Eugene Jarecki's critically acclaimed bio-documentary, The King retraces Elvis' roots in his 1963 Rolls-Royce Phantom V, the Trump Presidency, race relations and many more important issues facing the country sandwiched in between that somehow all comes back to the legendary entertainer. It features a truckload of celebrity cameos and is supposedly very, very good. I'll confess to only knowing about any of this due to its eye-catching poster, designed by the aforementioned Midnight Marauder. And that should ultimately be any movie poster's goal: To shine a spotlight on and attract attention to films that otherwise wouldn't have been given a second look by most mainstream audiences. All eyes are immediately drawn to The King's giant shadowy visage, doubling as hills the car travels above a landscape featuring iconic American landmarks like Mount Rushmore, the Statue of Liberty and the Hollywood sign. But what's most impressive about this is the use of black and gold, creating a kind of nightmarish photographic dark room effect. Everything seems off-kilter, much like the film, which definitely doesn't look like your ordinary Elvis doc, whatever that's supposed to look like these days.

3. Shirkers

Here's one where it really does help to have seen the film before the poster, which is full of little details and Easter eggs that can only be fully appreciated after watching Sandi Tan's jaw-dropping documentary, Shirkers. Now that it's streaming on Netflix, more people have thankfully discovered her autobiographical love letter to adolescence, moviemaking and Singapore in the early 90's. Centering around the quirky little movie of the same title she made with her childhood friends that was stolen by a mysterious, charismatic figure with questionable motives, Tan tries to piece together the puzzle of its 20-year disappearance, opening up some old wounds in the process. And this one-sheet, designed by the great New Yorker illustrator and cartoonist, Tomer Hanuka, somehow manages to capture all of it and more in a multi-colored representation of the movie's many pleasures.

It's a single sheet "Where's Waldo?" as you pick up on all the little details he squeezes in there, like the crossing guard, the kid on the bike, the dancing dog and the man with the suitcase. But it's that central image of Tan, camera in hand and reels of film tied to the back of the mystery man's scooter that resonates most. With a face that's appropriately blacked out, he's literally driving her destiny, highlighting the central question at the film's center.

At a time when it seems everyone's been overdoing it with the illustrated posters to wildly mixed mixed results, this is a reminder of how special they can be when an artist gets it right. Even the Netflix logo, usually a cheap-looking eyesore, blends in well for a change. My knee jerk reaction was almost that's it's too busy, but that's the movie: Bursting at the seams with life and creative energy. This makes me want to escape back into that world and rewatch it right now.And he even fits in the movie within a movie's tag line: "There are Movers. There are Shakers. And there are Shirkers." Love it.

2. Her Smell

Before the film (which hit Toronto earlier in the year) arrives in U.S. theaters in early-2019, there's still time to decide whether Her Smell is one of the best or worst titles for a movie in recent memory. As you could have probably guessed, I'm going with the former, but even those who disagree have to admit it leaves the desired impact. You'll remember it, much like this one-sheet teaser brilliantly paying tribute to all those vintage faded, rainbow-colored rock concert posters of the 60's and 70's.

Starring Elisabeth Moss as a Courtney Love-like grunge rock frontwoman in the throes of a self-destructive downward spiral, this promises an experience every bit as aggressive and confrontational as its protagonist (antagonist?) But just look what they did, formatting the title and credits to PERFECTLY match the layout of those vintage posters, like the Toronto and New York film festival dates taking the place of what would otherwise be the concert date and venue. And the bottom credits serving as kind of an "opening act."

If this concept has a flaw, it's that it's too good, virtually indistinguishable from the real deal. If you put it side by side with the designs that inspired it, good luck telling the difference. Someone really did their homework. And if ther is a legitimate connection between a film's quality and its poster, Moss and her adventurous choices just might be the connective tissue, as she seems to have become a permanent fixture on this list for her critically acclaimed, risk-taking indie projects. With a design that feels like the perfect marriage of concept and execution, it was surprisingly difficult not to award this the top spot.      

1. The Front Runner

Jason Reitman's The Front Runner, which depicts Presidential candidate Gary Hart's doomed 1988 campaign, was fittingly released into theaters on Election Day, 2018. No one went. Few have even heard about it. Despite some decent reviews and praise for Jackman, no one's really discussed it since. Having not seen the film, I couldn't tell you whether that's fair or not, or even draw any clever parallells between the movie's fade into obscurity and that of its protagonist. Its commercial failure can most likely be blamed on everyone getting more than their fair share of politics in the news and deciding they couldn't bare to take any more at the movies. And it's tough to blame them. But what's less disputable is that this teaser poster by Manheim is a masterpiece, setting the film up for expectations it couldn't possibly deliver on, regardless of quality.

Unlike the one-sheet for Her Smell, which mimics a design that nearly everyone recognizes and is familiar with, this shout-out is subtler, but no less brilliant. And perhaps more so, since it works on a few different levels, the first of which is as a successful recreation of 70's and 80's campaign posters, right down to the exact font, colors and, of course, that glorious red and blue border. This is as solid an example as we're going to get of how much a border can enhance the overall look of a poster if properly incorporated into the design. This one not only does that, but manages to be thematically tied to the movie's subject as well.

With a design and style that also recalls classic paranoid political thrillers such as The Parallax View or The Manchurian Candidate, it's the illustration of Gary Hart's campaign bus literally careening off a cliff into negative space as reporters trail behind (through the poster's border!), that becomes the ideal visual representation of how his failed run forever changed the relationship between politics and the media, the reverberations of which can still be felt today. The tag line says as much, making the rare case for telling us exactly what the movie is really about, while managing to get every last detail down, including the title being presented in quotes. An embarrassment of riches, that all this is achieved in such a clean, stark, minimalistic image is what makes it so astonishing and destined for a shelf life far longer than both the story and film that inspired it.                

Runners-Up (Alphabetical)...


...And The Worst

Realizing I'm in the minority naming this one of the worst posters of the year (while also recognizing there are still far worse), it's difficult naming a major release with one as bland and nondescript as the one-sheet for the Coen Brothers' highly praised anthology film, The Ballad of Buster Scruggs. It's clear what they were going for in having the six stories branch off from the title, but it couldn't be any less interesting, serving as a great example why we don't see white titles against light grey backgrounds. You'd almost rather they aim for something excitingly awful and fail, than this washed-out design. But given it's the Coens, at least the movie has to be good...right? This alternate version is so, so much better. It's amazing what a little color can do.

Bohemian Rhapsody is beloved by audiences all around the world, most of whom have outright dismissed most critics' complaints about its accuracy, which is fine. But these posters look to have been printed the night before it opened in a studio executive's basement. They're paint-by--numbers photoshop, doing nothing to inspire confidence that the movie's anything other than a slick corporate product meant to cash-in on Mercury's life and legacy. And given the movie's pre-production problems, wasn't that everyone's worst fear going in? Hopefully that's unfounded and this is just another case of false advertising.    

If only for comparison's sake, this has to be included. The polar opposite of its teaser counterpart you saw in the number one spot above. While that was admittedly tough to follow, this is especially awful by even the worst straight-to-DVD cover standards. A befuddled Hugh Jackman in what looks like a bad wig photoshopped into a scene with flash-happy papparazzi. I understand the need to release an alternate theatrical poster heavily featuring the film's star, but if they're going this route, is that really such a great idea? And the bottom credits may as well be invisible.

Less a complaint against this particular poster for Lynn Shelton's Netflix indie, Outside In, than the tiresome design method they chose to go with. You may recognize it, as it's been used in what seems like every other poster for the past decade. A person's image is superimposed over another person's image that appears over a landscape shot. But I don't think I realized just how tiresome it was until seeing this one, which takes its title quite literally, not missing an opportunity to hammer home the point that "Things are Never the Same Outside." Because he just got released from jail. Get it? Ugh.  

While it's not really fair to be "offended" by Ready Player One's poster campaign centering around paying tribute to pop culture's most iconic movie posters when that worship is at the heart of the film itself, But I just can't help it because they're awful. They butchered all of them and I can't stand looking at that face on poor photoshopped recreations of what was originally great poster art. And shame on them for making me resort to calling the original Matrix poster great art. There are many more not even listed, but if I was forced to pick the only tolerable one of the bunch it would probably be this Risky Business parody if only for the clever detail of having the girl pose on the hood of a DeLorean. That least it seems like a more fitting tribute than that abomination you see above.    

Without quite being as spectacular a misfire as Ready Player One's collection above, the studio didn't do Skyscraper or Dwayne Johnson any favors by poorly aping posters for Die Hard and The Towering Inferno in its ad campaign. And in the case of latter, they didn't even bother to aim for accuracy, opting instead for a bizarre image of its perplexed-looking star. And that's coming from someone who really liked Skyscraper and thought it got a lot of things right in avoiding potential allegations they were poor man's versions of those films. As bad as some other posters were this year, these two just might have them all beat for the laziest.

Now this is more like it. Finally, an over-the-top, hilariously terrible poster sure to make even Nic Cage blush. In the subtly titled SPEED KILLS, "Travolta plays speedboat racing champion and millionaire, Ben Aronoff, who leads a double life that gets him in trouble with the law and drug lords." That's via imdb. And while it's supposed to loosely be based on a true story, whatever interest existed in that has apparently deteriorated into what you see above. In other words, a John Travolta movie. But this looks excessive even by his standards. Where's Warren Zevon when you need him? You know you've got it made when you're more concerned with buttoning your sports jacket than the cash flying out of...who knows where. That first one-sheet should be considered worse, if not for the promise (threat?) of a "Cinematic Virtual Reality Experience" in the second. For those who always wondered how Travolta's hair would hold up in VR, your wait is over.