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 A terrifying poster. Source: Fandango
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 Bane-chilling “Rises” poster is a P-10 “The Dark Knight” was the darkest Batman movie to date, but this baneful new poster for “Rises” suggests Nolan takes the final instal in his trilogy even further. The beautiful, brooding design isn’t as conceptually mind-bending as its “DK” equivalent, the Joker poster, but there’s more here than meets the eye. Notice the provocative contrast between this film’s title and the comic book title, “Knightfall,” in which Bane infamously breaks Batman’s back. No one knows what Nolan has in store for the legendary standoff, but this poster’s cracked mask, a dramatic symbol of the Bat-breaking, gives us a subtle, ominous hint.
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  Mind-bending First Teaser Poster for “The Cabin in the Woods” is a P-10 After many stops and starts, writer Josh Whedon and director Drew Godard’s “The Cabin and the Woods” has finally struck a distribution deal with Lionsgate, which is releasing the horror flick theatrically April 13, 2012. Today begins the marketing campaign with this psychedelic teaser poster, and frankly, we’re blown away here at TFI. The wait was worth it. A cabin hangs mid-air surrounded by foggy forest – an eye-catching, abstract visual. But what’s more, it’s in the form of a massive Rubix cube, suggesting a mind-games style horror flick along the lines of “Saw” meets “Cabin Fever.” Compounding the enigma, the tagline, “you think you know the story,” not only teases the film’s premise, but also the mystery surrounding its premise, which is being described vaguely as “a group of friends go to a cabin and things go bad” (AICN). Like every other horror poster now, it comes complete with scratched-wax marks, and yet, perhaps because of the wooded setting, the overused visual device works better here than ever before. I can’t wait for more from this campaign, which, thanks to Lionsgate, is now, like the titular cabin, officially airborne. Know the story on April 13, 2012. Source: Ain’t It Cool News
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  This alone makes you want to watch the movie. You have to watch it to catch all of the symbolism in this trippy, out-of-body poster for Apichatpong Weerasethakul’s “Uncle Boonmee.” The dark, moody colors lure, and the eerie black figure with eyes like flowers or flames, you decide, haunts. The entire poster has a meditative, Reiki-esque aesthetic not unlike Tool’s Grammy-winning album artwork for “10,000 days,” or previously for “Lateralus.”If you do see “Boonmee” you’ll be doing yourself a favor. Before a theatrical release in the US in 2011 it won the Palme d’Or at the 2010 Cannes Film Fest.
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   Dark Knight Rises, Buildings Fall The first teaser poster for “The Dark Knight Rises,” one the most highly anticipated comic book movies of all time, just hit Hollywood like an earthquake, sending tremors through the studio system, the blogosphere, and the souls of fans worldwide. The poster’s dark, ominous tone is perfectly tuned to director Christopher Nolan’s noir-esque vision for Batman, reminiscent of Frank Miller’s “Year One.” Its focal point, which you may not notice at first, is the bat symbol outlined by crumbling skyscrapers – a stunning reinvention of this franchise’s age-old visual hook. But this one-sheet goes deeper than branding the bat. Its POV is Batman’s phantasmagoric hallucination of the bat signal rising over an apocalyptic Gotham – a sign of hope in an otherwise foreboding nightmare. Indeed, it leaves a lasting impression, like waking up from a dream you can’t shake off. This poster – undoubtedly an instant classic – is that dream.
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 Retro Sheet of the Week “Hesher” Burnt into Being This visually dope and powerfully symbolic poster sears “Hesher” into our minds by searing him onto the page. The title character is formed by the negative space of a burnt scrap of paper, his sullen visage by the plumes of smoke left over from the flames — all suggesting that this nihilist has burnt his way into existance. The rich symbolism captures Hesher’s gritty style, stovepipe smoking habit, pyromania, and dark demeanor. In a word, it’s the anti of this anti-hero.
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 You may not think this simple one-sheet for “We Need to Talk About Kevin” delivers much in the way of tone or plot, but look again. Aesthetically jaw-dropping and rich with character, it embodies a subtlety we’re not used to in Hollywood. The rainswept glass, which distorts Swinton’s view, symbolizes the all-consuming emotions of her maternal plight. Indeed, the raindrops and Swinton’s tears are almost indistinguishable, and symbolically one and the same. Adapted from Lionel Shriver’s 2003 novel of the same name, “We Need to Talk About Kevin” follows a mother ( Tilda Swinton) who must cope with dire guilt and grief after her son ( Ezra Miller) goes on a Columbine-esque killing spree at his high school.
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 One-Sheet Impressionism This one-sheet encapsulates the impressionistic style of Terrence Malick’s new film, “The Tree of Life,” which received the Palme d’Or at the 2011 Cannes International Film Festival. In provocative symbolism, maternal hands blossom like petals of a flower, cradling and protecting the precious baby’s foot from a harsh, exterior light. Together, the hands and foot form the outlines of “The Tree of Life.” Like the rings that spread from the core of a tree, the lines on this baby’s foot serve as a sort of life-map. And like life, this map is a maze. Starring Sean Penn, Brad Pitt, and Jessica Chastain, Terrence Malick’s “The Tree of Life” opens tomorrow in limited release. -Also watch “The Tree of Life” trailer.
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 Perfect Ten Throwback Stunning concept and design. ___________________ After winning the leading role in “Swan Lake,” Nina Sayers (Natalie Portman) begins to slowly take on the dangerous characteristics of the Black Swan, Odile. This thrilling drama is directed by Darren Aronofsky and came out in 2010.
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 In this stunning poster we see a girl’s vulnerability blossom like a bed of roses. It affects the uncanny feeling of looking into someone’s soul, her eyes as the windows. The use of color not only makes a beautiful pun of the title, but also adds pathos. Emotions are colorful, and here we see a full spectrum. Watercolor, with its splotchy aesthetic, makes these colorful emotions seem as if they’re rising up right in front of us. .
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