When we talk about 'art', movie posters aren't something we usually have in mind. They are a forgotten genre. Information is so immensely available that their purpose is now mostly restricted to being decorative pieces and collectables. Most of us pass them by and effortlessly forget about them. But there was a time when they were useful advertising tools and had that informative artistic side to it that nothing seems to have these days.
We have here a few of the world's most creative and beautiful movie posters:
Vertigo: This Hitchcock masterpiece is a treat for the movie watchers. The poster is also extraordinary. Designed by the legendary Saul Bass, this is one poster everyone would love to hang on their walls, even if they haven't seen the movie.
The Dark Knight: The Joker's smile is almost as universally recognised nowadays, thanks to the Dark Knight posters. The brilliant posters offer us a prelude for what is about to come.
2012: Yes, the movie was awful, but the posters were anything but. The fall of some of the most iconic buildings and sculptures are captured superbly in the posters. It's a shame the movie wasn't nearly as good.
The Birds: Hitchcock's movie posters are not just run of the mill stuff; they are simply superb in their ability to catch your attention. The Birds poster is as simple as they come and yet manages to say everything about the movie.
The Godfather: The poster with Brando is timeless and epic. So is the movie. 'Nuff said.
Inglourious Basterds: A Quentin Tarantino movie about WWII? There will be blood. But this poster takes all that is Tarantino and makes it even better. And bloodier.
Metropolis: The metropolis poster is an honest to goodness piece of art. There aren't many movie posters that can be that. The sketch, the jagged geometry, the robo-crome style and the sepia, all of it makes this 90-year-old poster truly extraordinary.
Terminator 2: Judgement Day: Arnie. Motorbike. Shotgun. Shades. Need we say more?
Man on Wire: Man on wire is a documentary made by BBC on Philippe Petit, the French high wire walker, when he walked on the wire between the twin towers in New York, back in 1974. This documentary won tons of awards and the poster is sensational.
Movie posters represent the whole movie in a single image, giving away just the right amount of hint about the movie. That's art with a purpose.
By That Guy
If there's one thing that Rise Against is good at, it's being perpetually vehemently pissed off. You'd think with a growing fanbase and selling tens of thousands of albums they would have some happiness in their lives, but no. They always find something to complain about. That's also why this writer can relate to them.
In their new album, ominously named “Endgame”, vocalist Tim McIlrath describes himself as an “orphan of the American dream”. Melodramatic much?
There are two types of Punk music out there nowadays. The first which rebels against the system and the second which is basically regular pop songs sung at twice the speed. Rise Against's new album is a bit of both. From the minute the loud guitar riffs of “Architects” welcome you to the album; it sort of sparks a rebellious flame inside.
Rise Against's sound has evolved in this album. To old fans this will sound a bit alien. It's a much lighter sound than the grittiness that their previous albums such as “The Sufferer and The Witness” accustomed us to. There are some clear grunge influences (such as in the song “Midnight Hands”) and some clear pop influences. It takes a little getting used to.
Rise Against's niche is singing songs that have messages. They do their best to highlight the problems that plague the world. From questioning why a soldier had to die in “Survivor's Guilt” to inspiring an uprising on “A Gentlemen's Coup” to showing us the lower class angst on “Disparity by Design”, the combination of McIlrath's intensity and the blaring guitar riff driven music send a thoughtful shot of adrenaline into your system.
The stand out point for me though, is the brilliant “Make It Stop (September's Children)”; a song taking aim at bullying and a plea to stop before more children end their lives through frustration and violence. “And too much blood has flowed from the wrists, of the children shamed for those they chose to kiss.”
There are flaws in the album. For example: when the customary half-way slow-down in the song “Architects” arrives, it sounds like McIlrath is trying to win back his girlfriend rather then send a true message. Since punk is sung at twice the speed of other songs, some of the songs such as “Wait for Me” overstay their welcome.
“Endgame” is a rarity. It is an intelligent album. Something the music industry needs more of. It has a solid message for all willing to listen. The only thing missing though is that little magic spark, that little magic spark which turns a good album into a great album, an album that will stand the test of time.
Final rating: 8/10
By Shaer Reaz
Ignore that stupid title. There have been worse. When you have to resort to using the same name for a movie in its fourth sequel as the first movie in the series, albeit without a couple of definite articles, you are bound to run out of words. Now, Ladies and gentlemen, you have the fifth instalment of the Fast and Furious series.
Fast Five sees Justin Lin back at the helm, with Tokyo Drift under his belt. Returning from the previous movies are a host of actors - Paul Walker, Vin Diesel, Jordana Brewster, Tyrese Gibson (aye), Sung Kang, Gal Gadot and Ludacris, the expected cheesy dialogue, and a kind of flimsy plot. Anyone up for “one last job”? The phrase “one last…” has been used so many times since the very first movie, makes me wonder how long they're going to keep this gimmick up.
The movie starts with Brian O' Connor (Paul Walker), Mia Toretto (Jordana Brewster) and a couple of members of Dom Toretto's (Vin Diesel) old team, breaking him out of a prisoner bus. On the run again, Dom disappears, leaving Brian and Mia to roam South America while laying low. They are reunited with Vince (last seen in the original The Fast and The Furious movie) in Rio, Brazil, who wants them on board for a daring car heist. Dom joins in, and together, they rob a train transporting a number of impounded exotics. When Dom smells something fishy and asks Mia to take a “special” Ford GT40 and hide it, the group becomes entwined with the number one bad guy in Brazil: Hernan Reyes. He wants this car badly enough, it seems, to send wave after wave of his henchmen after the band of thieves.
To add to their complications, the US government sends in a team of extraction experts, led by hard hitting Luke Hobbs (played by newcomer to the series Dwayne “The Rock” Johnson) to apprehend Dom, Mia and Brian in any way possible. Dom and the gang assemble a team of their old acquaintances (some very welcome faces return) so that they can bring down Reyes and walk (more like drive) away with a bank vault full of greens, all the while fighting corrupt cops and US federal agents.
Fast Five has some mind-blowing action scenes, coupled with physics defying car chases. The cheesy dialogue is delivered with fervour, the camera work is superb and there is enough on-screen eye candy to serve anyone. The eye-popping beauty on screen is provided by the gorgeous Jordana Brewster, with Gal Gadot and Elsa Patakay on the side. You'll also appreciate the finely honed sheen of car metal. You can tell by watching Fast Five that cars are becoming less of an importance in the series, with the focus on cars and car scenes becoming lesser in extent with each new movie. The soundtracks are consistent with each scene, setting a nice tone and adding to the feel of tension that is present throughout the film.
This might as well be the most enjoyable F&F movie to date, but it won't arouse the car nut in you. F&F popularised street racing, F&F 2 popularised neon lights on cars (sadly), F&F Tokyo Drift popularised drifting, but the last two movies sadly have done nothing to inspire the masses into loving cars more. It might be good for the series commercially, but a bit more screen-time for the cars would be a definite plus. Oh, and the movie drops a number of hints at another movie (like when Brian comments, “It's a long way to Tokyo.” Fast Five is a prequel to F&F: Tokyo Drift) Seriously can't wait.
Best Scene: When the main men take charge of the streets of Rio in their stolen Dodge Charger Police interceptors. EPIC.