Hats Off
Magnolia marketing deserves a salute for creating this undeniably cool and catchy one-sheet for Terrence Malick‘s To The Wonder. Yes, Brad Brevet — it owes a certain debt to the poster (or was it the Bluray jacket?) for Malick’s The Thin Red Line. Wonder opens on 4.12.
Agreed. It’s a nice poster, and certainly does borrow from the Criterion cover of ‘The Thin Red Line’, albeit for no apparent reason other than to draw the comparison.
Curious that you decided to crop the full image while every other writeup out there shows the entire poster and credits the EW exclusive.
Something for notihng, eh?
A ton of new / born-again Affleck fans are going to Redbox this in 6 months and say collectively… “Da fuck?”
I think this poster is pretty awful actually and am surprised that anybody thinks otherwise. It looks cheap compared to several of the other posters released earlier. I am glad to see MSM in the background as that’s appropriate but it’s a terrible image. I never thought anyone could find an unflattering image of that place but this pretty much proves me wrong. Rather than majesty, it looks like just some generic church behind a clump of shrubs on a bluff. Pretty lousy and hardly the kind of imposing, looming backdrop one assumes must have been intended. And that asinine “fold” does no one any favors.
why people say that this poster is ugly because i think is the best poster i ever saw !
I’m surprised you cropped it too. Really like seeing the space at the top and bottom of the frame. It conveys a sense of naturalism, of gloriously spacious headroom. The concept of removing visual information from a frame strikes me as wicked and almost evil, in a way.
It’s cropped because Wells knows how it’s SUPPOSED to look, not how the creators want it to look (ample headroom, etc.).
They should have gotten Al Jaffee.
It does look a bit like a Fake Criterion. I preferred the classy golden European ones. This one looks a bit blurry and bland.
I like this poster but it makes no sense as a comparison to Thin Red Line criterion. That cover makes the transition between a book and the most harrowing scenes in the film. The divider here does not appear to be a book or a set of tiles or slides- it is just a visual tic- it has the style but not the visual substance. It is odd.
Or does it mean something? The divider doesn’t just split the image – the island in the distance disappears on the right side of the “fold.” Symbolic?
I like it, but it’s maybe a little too skateboarder art for my taste.
I can almost smell the free cologne sample behind that seam.