Posterized February 2025: Armand, Universal Language, The Monkey, and More

      2025 is well underway, and many Americans are likely seeking an escape from the intense challenges facing their country. Upcoming films, like the latest addition to the “Zachary Levi only stars in kids’ movies” series produced by the creator of Wonder, but not “A Wonder Story” like White Bird (The Unbreakable Boy, releasing February 21), and the next chapter of the beloved Paddington series (Paddington in Peru, coming February 14), should offer families some relief.

      However, I have a feeling that Marvel's new release, Captain America: Brave New World (premiering February 14), might not resonate with a vocal segment of the public. Frankly, it's surprising an executive order hasn’t been issued to prevent its release, as that seems to be the direction we're heading.

      With some Oscar nominees making a return to capitalize on their visibility, it will be challenging for other films to compete. Studios will need to bombard audiences with posters both in physical locations and online to remain top of mind for potential ticket buyers. We'll see if some of the films listed below can rise to the occasion.

      Do I know you?

      An effective strategy for catching an unsuspecting viewer's attention is to evoke familiarity—through nostalgia, motifs, or clichés. This way, they think they know what to expect before you surprise them. Or, fulfill the brief exactly to resemble something your client appreciates.

      Cleaner (limited, February 21) exemplifies this formula: presenting a striking action image that signals our protagonist means business while promising grand set-pieces. It borrows elements from Empire Design's Mechanic: Resurrection and LA's Abduction but adds its unique flair with even bolder theatrics.

      It's a striking visual. The image captures Daisy Ridley in a dramatic free fall, shattered glass symbolizing her leap from a skyscraper window, with a helicopter in the background hinting at a pursuit, all while balancing the composition amid the title and cast names. The result is a captivating freeze-frame shot that embraces its artifice while establishing context.

      Ex-Husbands (limited, February 19) is less about imitation (unlike Callan Advertising's French Exit) and more about creatively addressing a common design challenge. The promotional image features three leads, but the photo must remain landscape to fit them all in frame. To adapt it to a vertical format, you need to deal with the leftover blank space.

      A straightforward solution involves increasing the contrast to render the car roof entirely black. By extending that color upward to fill the frame, the cropped photograph transforms into a view into the film's environment. I might have preferred the text to be smaller for more breathing room rather than feeling like a visual constraint over the actors, though perhaps that's intentional too. None of the men appear particularly joyful; maybe the weight above them represents the existential dread plaguing their lives.

      As for The Monkey (February 21), it blatantly references Hardcore. I haven’t seen this Stephen King adaptation yet, so I can’t comment on the reasoning behind this choice, but I recognize the effectiveness of invoking a bygone era.

      This becomes even more apparent as Neon has recently embraced a marketing approach that intentionally submits material they anticipate will face censorship or denial, using those obstacles as part of their campaign. It’s an age-old tactic that operates on the idea that "all press is good press," while simultaneously tantalizing genre fans with the assumption that the final product will be even more gory and violent than expected (perhaps challenging Damien Leone’s uniquely apolitical style).

      Is it too niche for mainstream audiences? Absolutely. That’s why we also see GrandSon's teaser featuring the monkey's face and oversized Saul Bass-like typography for a contemporary twist. We see the bold, straightforward version with a glaringly fake image of a bloody knife next to a wall of text. Neon is leaving no stone unturned.

      My main question: when did Osgood Perkins start making "trips," similar to Spike Lee's “joints”?

      Window to the soul

      Here’s a striking visual: a monster donned in a complete leather face mask with bright, glowing hearts where its eye sockets should be. How can one not be intrigued? How can one not wish to find out if it’s a serious slasher or a comedic parody? I wouldn’t even be shocked if they ultimately expand and contract like a Looney Tunes cartoon.

      There really wasn’t another route for BLT Communications, LLC when crafting their promotion for Heart Eyes (February 7). That face is the focal point. Keep it at the forefront to both confuse and entice all who pass by. Shroud the rest in darkness; embellish the title and "coming soon" text with additional hearts. We'll only discover the true essence of this film by purchasing a ticket.

      However, to truly glimpse into someone's soul, you must do it through Akiko Stehrenberger’s Armand (limited, February 7; wide, February 14).