Posterized July 2025: Featuring Eddington, Drowning Dry, and More

      Certainly! Here's the rephrased version:

      In July, we see the return of the Fantastic Four (July 25), Superman (July 11), and Jurassic Park (July 2), but it’s not these reboots that caught my attention. That honor goes to Rihanna as Smurfette (July 18).

      It’s surprising that this franchise still considers itself relevant, and given how often it’s been revived this century, I can't help but think that the world might end if Gargamel were to eliminate his tiny blue foes. Paramount might be keeping us alive, or perhaps they’re just holding us captive—it's hard to tell.

      There’s clearly an issue with brand recognition, as they seem to feel comfortable hiding the actual title of Smurfs on the page (if it’s even mentioned) to focus on Rihanna’s name, which is their main draw. It’s understandable that they would emphasize her.

      Everything old reemerges if there's demand from a global phenomenon.

      Fortunately, there are also new films debuting in theaters.

      **Faces**

      While I am placing the poster for Saint Clare (limited & VOD, July 18) under "Faces" due to Bella Thorne's image dominating the page, my favorite aspect is the design of the title.

      The textured grain, murky tones, and bright crucifix in her eye create a compelling visual, especially with the bold yellow text layered on top. I particularly admire the font and the way the horizontal lines are removed from the As. The absence of those lines produces a strangely unsettling space that keeps my gaze fixed as if there’s something to uncover or a hidden meaning to interpret. It’s purely an aesthetic choice, but just unexpected enough to make me question my own perception.

      In a similar vein, Masaki Suda’s face is central to the poster for Cloud (limited, July 18), but everything else compels me to look away.

      The stunning title fades into the background, reminiscent of mist at the outset and then transforming into condensed water vapor at the conclusion. There's also a shallow depth of field that blurs the gun known to be in his hand, aimed towards us. His face is sharp and clear, reflecting his mindset, while the surrounding elements create an atmosphere filled with suspense and intrigue.

      This is a notable improvement over the Japanese version, which takes a more straightforward approach by showing Suda, gun in hand, in a wide shot. He almost blends into the background because his clothing matches the colors of the construction scene behind him. This effect is appealing as it mirrors the title’s flickering appearance between solid and gas—but it does sacrifice the dramatic emphasis provided by a focused composition.

      That dynamic shifts if you remove elements from their scene to create a more graphic, collage-like aesthetic akin to Fable’s Kill the Jockey (limited, July 2). Everything is in focus, yet it feels like a cut-and-paste job rather than a background pose. The goal is to position many elements on the canvas and rearrange them to create a memorable visual motif that tells a story.

      A gun is aimed at the jockey, who is positioned upside-down at the top of the frame. This might imply he’s lost his mind, or it could suggest that killing him won’t be as straightforward as the shooter believes. This setup teases both the content and the tone by introducing the characters (with two individuals reflected upright in his goggles, likely the assailants) and the act in a playful manner.

      This becomes more apparent in the second poster: the jockey now rides the gun as if it were a horse. The absurdity is intentional. The ambiguity of whether he’s the target or the shooter lets us enjoy the humor without getting bogged down in any plot. The composition is much neater, balancing text and image, unlike the previous one, which attempted to fit blocks of information wherever possible. This one flows with motion, guiding our eyes left to right and directly toward our seats.

      **Pairs**

      The drama depicted in the one-sheet for To a Land Unknown (limited, July 11) revolves around two cousins yearning for escape. Their emotions are captured in the transparent portraits alongside the dark, calm nighttime backdrop. These two men are trapped. Unable to return home to Palestine and unable to leave Athens without funds, they devise a plan and sit in determined silence, ready to act.

      The composition effectively conveys both environment and character, layered atop one another. The title treatment aligns with this approach, featuring one line in solid white and another outlined. A representation of being there, yet not; existing while merely surviving; prepared but uncertain.

      You can catch a glimpse of this in the original festival poster featuring the same two men seated and looking offscreen, but Watermelon Pictures’ iteration amplifies the emotional impact. By stripping away vibrancy and replacing yellow with cool blues and grays, it transforms from a window into the film’s world to a glimpse into its very soul.

      Conversely