Group Hug.

I once saw a documentary on F.W. Murnau which explained how much he worried about creating universes that went beyond the confines of the filmstrip and what it recorded. This is why in movies like Sunrise he came up with elaborate set pieces which showed constant movement. Therefore we see people appearing from the sides, below and all possible places that made it seem as if the story being filmed was taking place not only to service the camera, but as an actual slice of life.

This is something that has never worried Wes Anderson. His movies are miniatures that take place in half-recognizable settings that we're supposed to think of as universal. The New York City of his The Royal Tenenbaums instantly springs to mind, particularly because its artifice never highlights the town that other artists obsess about. Anderson's obsession with perfect framing and symmetry often give his movies an unavoidable touch of whimsy and despite the fact that his work is extremely self indulgent, my favorite shot in this movie seems to add a bit of heart to this insularity.

I love how even if he's placed Margot and particularly Richie in cherubic positions next to their mother, he has cut off Chas' head, not only representing his need to cut off from any sort of Tenenbaum curse, but also to highlight how his intrusion to ask for money seems to disrupt the almost pastoral shot he had established. That Chas then proceeds to leave the frame, reminding us of a larger world outside the Tenenbaum house, is absolutely brilliant.

- This post is part of Nat's Hit Me With Your Best Shot series.

The Avengers **½

Director: Joss Whedon
Cast: Robert Downey Jr., Chris Evans, Chris Hemsworth
Samuel L. Jackson, Mark Ruffalo, Scarlett Johansson, Jeremy Renner
Tom Hiddleston, Clark Gregg, Cobie Smulders
Stellan Skarsgård, Gwyneth Paltrow

The Avengers feels like a success because its very existence seems to be fulfilling a promise made to us with the advent of comic book movies: that one day we would get to see an epic popcorn flick in which all our favorite superheroes would get to have some fun together.
What once was thought to be impossible due to technology, budget and other factors, has finally become a reality and the result is disappointing because in the process, the film has become the equivalent of opening gifts as grown ups on Christmas morning: the magic has all but vanished.
The first part of the movie, consists of the "let's put on a show" plot that was much better used in last year's The Muppets, since the faces involved are all familiar (or at least they should given that this movie has no less than six prequels) all the audience is expecting to see is what they will do together.
The film however takes its time setting up the stage as we see Thor (Hemsworth) come back to Earth to stop his psychotic brother Loki (Hiddleston) from invading it. Joining the Norse god are brilliant playboy/Iron-Man (Downey Jr.), the slightly passive aggressive Bruce Banner (Ruffalo) whose Hulk is on almost permanent sleep, the thawed Captain America (Evans), the sexy agent known as Black Widow (Johansson) and ace archer Hawkeye (Renner), all led by agent extraordinaire Nick Fury (Jackson who seems to be more alive than in any movie he's made in at least a decade).
The entire film revolves around this group of heroes kicking Loki's ass and preventing imminent destruction at the hand of weird aliens who ride intergalactic mopeds and use fish like spaceships to wreak havoc on New York City (because where else do space invasions begin?).
The film often lies at a very awkward spot because its execution is often marred by the Whedonisms being repressed by the very epicness of it all. Whedon is an extraordinary director who has no trouble alternating and even normalizing the relationship between fantasy and "real life". Some of his greatest creations combine vampires, space cowboys and clones with a deep sense of longing, melancholy and geek humor.
His persona shines during some key moments in the film, mostly through, who would've guessed it, Thor and Captain America, the two towering men whose latent humanity shines through under Whedon's sensitive directing.
The Avengers thrives on its all-star ensemble but the running time (already excessive) doesn't give us enough time to delight ourselves with our favorite characters, unlike the Ocean's Eleven movies this one doesn't know how and when to use its assets best. It tries to be fair, when it should've been selfish in its purposes. As much as Downey Jr. shines as Stark, his smugness can get too grating, especially when Whedon is making Hemsworth and Evans act! 
It's a shame that the director never really knows what to do with the larger setpieces, because he has proven time and time again just how great he is at action sequences (remember the sense of Indiana Jones-like adventure he infused in the whole of Serenity?) The Avengers overflows with moments of almost-greatness that feel abrupt, as if Whedon wanted to jump but remembered he might break a bone upon landing.
The movie is unarguably efficient in its coherence, but it's almost too coherent, when it could have been playful, thrilling. Instead of inspiring us to want and turn the page to see what's next, more often than not we end up wondering if something fun will ever happen. Comic book movies are often a double edged sword because those who concentrate on the profoundness contained in the post-war plight for salvation are never really "fun" (any Batman movie under Nolan), and those that concentrate on thrills leave audiences feeling empty and self indulgent (any Spider-Man under Raimi).
Perhaps to concentrate too much on this would lead to an exploration of why comic books even matter and by the end we'd have lost all notion of the product known as The Avengers, which despite Whedon's attempts, misfires more than it succeeds and reminds us that the whole sometimes is lesser than the sum of its parts.

I reviewed four Gwynnie movies for PopMatters, click here to read.

Whoever Took This Picture Seriously Wanted to Impress Me...

They succeeded.

Class.

Oscars 2012: Best Dressed.

It was the safest year we've ever had on the red carpet. This means that:
a) There's little to make fun of and even less to give us nightmares (something that very well describes the utter forgettability of the whole event)
b) There is just one look that will go down on the fashion books (guess which one...)
c) Meryl Streep is featured among the best dressed for the second time! You'll be in shock when you see how high she ranked!

10) Natalie Portman
Since last year she denied us moments of amazing fashion (damn you baby bump!) she tried hard to make up for it this year in a series of looks that highlight her loveliness. This vintage Dior gown features polka dots, yes polka dots, and even if you would've assumed they only worked in relaxed episodes of Mad Men, Portman made the look acquire a certain je ne sai quoi. The hair is a bit of a letdown, but she looks so jovial and fresh...

9. Michelle Williams

It was about time MiWi wore something that made it seem she was having fun and enjoying herself. The girlieness in this Louis Vuitton is undeniable and the way she accessorized it (the little bow!) is absolutely adorable. This is the first time I've ever been in love with one of her looks.

8. Emma Stone

Yes, we all know this Giambattista Valli is essentially Nicole Kidman's Balenciaga froma  few years ago. The difference is in the style of the woman who wears it. With Nicole, the dress made a statement; it seemed to be saying "I am a gift to humanity" and neither of us could prove it wrong, which is why the dress gained a certain arrogance (very much like Jolie and her leg this year). 

As worn by Emma, the giant bow expresses her exciting youthfulness and her eager desire to be liked. The flow of the gown is remarkable and Emma's grin brings it something that Nicole's icy demeanor never achieved.

7. Rose Byrne

She's sexy and she knows it, that's why she went for a simple Vivienne Westwodd sequined sheath that screamed disco queen meets dominatrix. 

6. Stacy Kiebler
She may not be a celebrity but boy was she perfect on the red carpet. This Marchesa is one of the most beautiful I've ever seen. The structure is perfect, the color is bold and demands everyone's attention. Clooney lost Best Actor but he sure had his own little golden statue to take home.

5. Penélope Cruz

Everyone seems to have a strong opinion on Pé's new hairstyle. I think the length is perfect and even if it gives her a slight severity it still brings out the Grace Kelly-ness in her. Something highlighted even more by this gorgeous sky-blue Armani Privé which follows Pé's own kind of red carpet trend but feels utterly refreshing in spite of its classic-ness.

4. Jessics Chastain

Do you remember when Beyoncé wore an awful House of Dereon black and gold dress to the Oscars that made her look like a huge Chinese lantern? Do you remember when a few years later Halle Berry showed Ms. Knowles how to do black and gold? Well, Jessica Chastain now occupies the title of best black.and-gold wearer of all time, in this majestic Alexander McQueen that culminates Chastain's impeccable red carpet season with what might become her most iconic look. She is picture perfect and too flawless for words.

3. Rooney Mara
Bangs? Check.

Intense red lipstick? Check.
Givenchy structured dress? Check.

Mara was another newbie princess bringing it all together with a flawless Oscar look. 

The dress' texture made it look like she was surrounded by clouds. Perfection!

2. Meryl Streep
Upon first looking at Meryl's liquid gold Lanvin, one would've thought she was dressed like an Oscar because she knew she'd go home empty handed. As the night progressed, the color gave the Queen of Actors a certain glow that made her look holier than ever.

Then, she won and Meryl achieved a new power, that of prophecy given how beautifully her newest statuette looked against her dress. This is the best Streep has ever looked at any awards ceremony. Well done! Posterity will be thankful.

1. Gwyneth Paltrow
On a night that was all about nostalgia and old Hollywood glamour, Gwyneth Paltrow set the bar higher than the rest in this absolutely exquisite Tom Ford dress complete with a Joan Crawford-esque cape. This look is so perfect that not even the cape is mock-able. It gives her a demure consistency that's only surpassed by the simplicity of her makeup, hair and accessories. If she had gone for a tight bun or a high hairdo, she might've been too severe, or too old. The ease with which her pony tail let the dress take over and highlighted her sinfully beautiful bone structure, might just be Gwyneth's most astonishing red carpet look. Some are crediting the dress to the fact that she had first dibs on Ford's ultra secret new collection but come on, how many actresses out there can pull off a cape?
Gwyneth's boldness and refreshingly oxymoronic effortless glamour are what sartorialist dreams are made of!

What were your favorite looks?

I also discussed fashion with the awesome Nathaniel and Kurt over at The Film Experience. So what are you waiting for? Head over there and join the merriment!

Motifs in 2011 Cinema: Disillusionment.

Perhaps because it’s one of the youngest artistic forms, cinema is often assessed in much different manner that literature, or the visual arts. We discuss it in terms of genre, not in terms of thematic offering. Comparing, for example, Corpse Bride and Up because they’re both animated leads to some dubious discussion especially when – like any art form – thematic elements examined in cinema and the way different filmmaker address them make for some stimulating discussion. Motifs in Cinema is a discourse, across nine film blogs, assessing the way in which various thematic elements have been used in the 2011 cinematic landscape. How does a common theme vary in use from a comedy to a drama? Are filmmakers working from a similar canvas when they assess the issue of the artist or the family dynamic? Like everything else, a film begins with an idea - Motifs in Cinema assesses how the use of a single idea changes when utilised by varying artists.

- Andrew K.
Disillusionment.

One of my favorite songs says "disillusion takes what illusion gives" and this couldn't ring truer than it does while looking back at the cinema of 2011. The last decade was characterized because its up and downs were more extreme than anything else in the past. When things got bad, it meant war, terrorist attacks, pandemics, severe economic crises, social revolts, harsh weather changes and natural disasters etc. When things got good - if they ever did - it seemed like the world was closer to unity. Not so surprisingly, most of the good came in direct response to the bad, with entire countries uniting to help out a smaller nation in need, technological and scientific breakthroughs and perhaps naively in the promises made by a series of politicians who for a split second seemed like they would be able to change the world.
The movies of 2011, more than before, focused on how all of the good eventually let us down, how racism, intolerance, war and corruption just might've won the battle.

In Meek's Cutoff - perhaps the most aggressive political commentary of 2011 - Kelly Reichardt questions the Obama administration's lack of direction. Her story of wandering pioneers might not seem like a straightforward "movie" in the sense that it never worries about being entertaining and has no regard for plot. However embedded in its desolated landscapes lies the greatest story never told: how people abandon everything precious to them for an ideal that might never materialize. Realizing these people are lost isn't as heartbreaking as the delusional nature of the man leading them (played with astonishing charisma by Bruce Greenwood) who is more keen on preserving his public image than on acknowledging his flaws and how he let his people down. Meek's Cutoff cleverly uses history to make a point out of the cyclical nature of our universe.

This cyclical nature is repeated in Drive a film that takes place in a Los Angeles that seems to have never moved past the Reagan era. A labyrinth of decay surrounded by neon lights, Nicolas Winding Refn's tale questions what happens when society has lost all signs of latent humanity. L.A. here becomes the ultimate symbol of disillusionment, a city where people once came to dream (there is nary a sign of Hollywood glamour, we only see the menial tasks performed by stuntmen and strippers) but now are in deep search of a hero.
That the hero they get is a morally ambiguous macho figure speaks more about how the icons of valor are thought of as primitive creatures that predate the times we live in.

The Girl With the Dragon Tattoo then gives us a hero(ine) that fits more in our times. Lisbeth Salander (Rooney Mara) might not be Homer's idea of a savior, but in these times when corporations deal with our private information, she gets the Julian Assange badge of honor for "criminal heroism". When and how exactly did telling the truth and trying to make things right by way of immorality became a sign of courage might be a task more adequate for sociologists, but we'll take our salvation in any way it comes, right?

Although salvation makes no sense when thinking that a single epidemic might invalidate all of our moral codes. In Contagion we saw how an illness not only destroyed lives but shook survivors as well. What is the point in trying to preserve any signs of humanity when we commit the greatest acts of inhumanity against ourselves?
Steven Soderbergh's masterpiece was a chilling reminder that globalization is making us stronger only by giving us a false sense of unity, when in fact countries seem to wish they could erect walls to contain their own troubles without ever recurring to "friendly neighbor" behavior. That we see so many people in the movie trying so hard to contain the pandemic and have them fail so miserably is both horrifying and somehow relieving. Does it make sense that the end of times is then becoming the hedonistic poison of choice to so many people?

The Tree of Life wasn't without loss of illusion, in fact the entire premise circles around having a son realizing he'll never satisfy his father. On a larger scale, the film is also an essay through which Terrence Malick tries to satisfy a supreme power (the ultimate father figure) by trying to find the very essence that created him. It would be facile to blame daddy issues for all that's wrong in the world (despite what Freud would prefer) but The Tree of Life pulled off the ultimate hat trick by offering us a second chance, perhaps those who have faith will find solace in an afterlife. The rest of us are stuck down here mesmerized by the way in which our hopes reach for the sky only to crash with irreverent violence.

Head over to PopMatters and read our list of the Best Movies of 2011. There is NO arguing with the Top 3 but if you want to go right ahead and read my entries, check out numbers 23 and 7. Actually no, read them all!

Style Sunday.

Emma in Chanel is jus divine...and let's just call this one "deja vu" OK? (You'll see why when you see who's next...)

Gwynnie rocks this Stella McCartney. When did she go from being a skinny diva to having some of the best legs in entertainment?

Style Sunday.

When the year ends, I am pretty sure this look will be among my favorite of 2011. Gwyneth Paltrow was a vision of glamour, style and old Hollywood class in this stunning Elie Saab column dress. Attending the Bambi Awards in Germany, Paltrow was able to overcome the idea that too much glitter blinds the beholder. The dress' beading is beautiful without being showy, the craftsmanship stuns without overwhelming, and paired with a gorgeous diamond choker, Paltrow once more reminds us what a fashion icon she has always been.

As someone who always take risks and more than ever has been showing off her lovely figure - as she approaches 40! - Gwynnie truly was the queen of the night.

 Emma + Lanvin = bliss.

What's your take on Gwynnie's shiny look? Too much bling or is she sartorial perfection? Am I alone in wanting to worship at the altar of Emma Stone's Greek shrine?

Contagion ***½

Director: Steven Soderbergh

Cast: Marion Cotillard, Matt Damon, Laurence Fishburne, Jude Law

Gwyneth Paltrow, Kate Winslet, Jennifer Ehle, Elliot Gould

Sanaa Lathan, John Hawkes, Bryan Cranston

Contagion opens inside an airport bar where American businesswoman Beth Emhoff (Paltrow), on her way to the States from Hong Kong, sits having a drink and talking on the phone while she waits for a connecting flight. As she hears her flight number being called out she leaves the bar. The camera then focuses on the small bowl of peanuts that sat in front of her. A title card reading "Day 2" appears. With a seemingly innocuous choice of editing, camera positions and additional information (we don't get title cards in real life), Steven Soderbergh sends us down a spiral of fear, the likes of which we rarely see in contemporary cinema.

Once Beth is back in the States, she suddenly falls ill with a strange disease that sends her into a coma and kills her a mere minutes after the movie begins. With this bold move Soderbergh reassures us that for the next two hours, no one will be safe.
Contagion then deals with the discovery, propagation and consequences of this new lethal virus that is transmitted by contact and has no apparent cure. As the virus grows, we meet different characters who deal with it in their part of the world as society around them begins to crumble. Soderbergh also divides them into different aspects of our current world, without making them a too obvious "group". We see the emotional part with  Beth's husband, Mitch (Damon) for example, who has to deal with his wife's sudden death as he must survive in order to support his daughter.
There's also Dr.Ellis Cheever (Fishburne) of the Centers for Disease Control and Prevention, who tries to clear doubts that suggest the new virus might be a bioweapon by sending his colleague Dr. Erin Mears (Winslet) to investigate. Their stories are more related to bureaucracy and the handling of disasters by local governments which provide the film with eerie echoes of the H1N1 epidemic and the way in which the American government has dealt with events like Hurricane Katrina and the oil spill in the Gulf of Mexico.
Their storylines are also linked to the scientific community represented by Gould, who plays a genius biology professor and Ehle, who plays Dr. Ally Hextall, a CDC scientist commissioned to find a vaccine.
As the story begins to occupy a more global aspect, we meet Dr. Leonora Orantes, a World Health Organization epidemiologist who is sent to Asia in search of "patient zero". Scenes involving her character are filled with an exotic dread in which we are reminded that despite the world's global union feeling, we are still pretty much on our own. Soderbergh makes her scenes scary and mystifying by recurring to the use of multiple languages which instill a very primal fear in audience members. Is he perhaps suggesting that xenophobia is acceptable under special circumstances?
Other characters include slimy conspiracy theorist/blogger Alan Krumwiede (Law), a down on his luck janitor (Hawkes) who finds himself in the midst of a disease which to him remains incurable due to his lack of money and Aubrey (Lathan), Dr. Cheevers partner who gets involved in a political disaster.
Soderbergh has proved in the past that he's a maverick at handling parallel storylines with unifying, often enlightening, clashes. But while in Traffic he did something a bit more orthodox in terms of dramatic structure, Contagion offers him the chance to do his own hybrid of Nashville and Outrbreak. Those expecting an ultimate message of salvation, or even a unifying climax will come out severely disappointed as Soderbergh makes a case of maintaining the pieces of his mosaic separated.
Their detachment might come off as cold-hearted by usual standards but Soderbergh sees himself as a scientist trying to dissect the various pieces of his experiment (an autopsy scene is done with such straightforwardness that you can't help but feel both revolted and mesmerized). He leaves it to his actors to create flashes of humanity within the hyper-realism of his direction. Cotillard for example brings a worldly charisma (and a serious working woman hairdo) to her scenes, while Ehle becomes a joy to watch as she puts all of her Streep-ian attributes to work as she delights herself with her work discoveries.
Paltrow, who the film sometimes uses as a morality clause, is haunting, as she represents the face of an irresponsible (if only by ignorance) branch of American society and Winslet delivers one of the year's most powerful emotional punches in less than ten scenes.
His insistence to keep the stories from coming together has a remarkable symbolism because we realize that he's trying to contain infection from seeping to his other characters. By maintaining them apart, Soderbergh might be making the film's strongest point which is a questioning of the benefits of globalization.
This is confirmed in the finale which might be a bit facile but still shocks us to our very core by reminding us that by trying to make the world a smaller place, we have also made its decay much easier to obtain. With his expert use of editing, cinematography and sound (there are scenes without dialogues that creep under your skin) Soderbergh creates the kind of movie that transcends genre but becomes effective even within them. The film is scary because it feels possible and its use of scientific fact and borrowing from contemporary history only makes it more valid.
Martin Scorsese said that horror is related to physicality but terror is more related to what we feel, with Contagion Soderbergh might've created one of the most terrifying films of the decade.

Emmy Fashion.

As usual we won't bother with Emmy discussions (although yay Kate Winslet and Gwyneth Paltrow!) so let's move to the only relevant thing about these TV awards, the fashion!

After the feathered disaster she tried to pull off in last year's show, Kristen Wiig was effectively stunning in this chocolate Zac Posen gown. The color and cut are perfect for her! Why couldn't the Best Comedy Actress nominees learn from her?

Other than Amy Poehler and Edie Falco, who were sartorial perfection (even if Edie has squeezed this cut too much), the others were just so dull. Laura Linney, seriously, I was rooting for you to win for The Big C but I'm glad you lost just because this dress is just so argh!

Elizabeth Moss has done the nude thing a gazillion times before but there is no arguing with this stunning Marchesa design. The fit is perfect, the simple makeup and hair are quite adequate but I wonder why is it that she always looks so much older? I can totally see Helen Mirren being more youthful in this.

Oh Paz de la Huerta, you are quite something, aren't ya?

Julie Bowen confessed how special she felt about wearing Oscar de la Renta and well, she should! This is the sexiest look she's pulled off in any red carpet! 

Yow-fucking-za! Poor Sofía Vergara might not get too much credit for her tremendous comedienne abilities (people still think it's all about the accent) but she gets her due with clothes. This stunning Vera wang coral dress more than makes up for the tacky yellow creation she chose last year. Gotta love how she let her hair down and recalls Rita Hayworth.

Say whatever you want but Kelly Osbourne rocked the hell out of this J. Mendel gown. Remember when she was a goth rock heiress with pink hair? We've come a long way and good for her!

Aubrey Plaza is the epitome of cute in this custom made Juan Carlos Obando white dress. The hair is lovely, the simple makeup works wonders and those bracelets give her a true wonder woman edge.

The always lovely Jayma Mays pulls off this Zuhair Murad pink concoction in a way Zooey Deschanel couldn't pull hers off (TOO princessy!) the layers and delicate ruffles could've been extremely tacky but the joyous redhead gives them a pinch of sass to make 'em work.

Dianna Agron was stunning last year in Oscar de la Renta which only makes this weird Roksanda Ilincic gown a weirder choice. Sure she wants to play the "I'm young but can dress up like a grown up" game, but

where last year's lace creation was timeless, this one makes her look like Elizabeth Moss' mom. She's hiding the boobs, covering the neck and the cut makes her look as big as Melissa McCarthy. Odd choice...

Armana Privé makes dresses that work just as well on red carpets and during space travel. Sometimes their flashy, usually stunning creations make your jaw drop to the flloor, however in the case of Julianna Margulies, they make us wonder two things: has Julianna been watching Frida too much and will tiny Lady Gagas hatch out of those crystal eggs attached to her bodice? 

A few weeks ago, Nathaniel and I held a battle of sorts, between Veda and Mildred Pierce. Opinions were torn on said occasion - apparently people dig Kate's rigid structural touches while I favored Evan Rachel Wood's adventure sense - and now we are given the perfect way to hold an ultimate showdown. Both ladies have gone with the same designer: in this case Elie Saab. While Kate went for the same red everyone else was wearing (and loosened up her hair obtaining a fresher spirit), her onscreen daughter went for a dramatic black siren gown, complete with a retro do and beautiful smoky eyes. I'm sorry Mildred but Veda has once again upstaged you. Both look astonishing and while Kate is beautiful, Evan remains iconic.

The retro beading and the draped cut of Christina Hendricks' dress totally reminded me of the deco decadence of Boardwalk Empire. The curvaceous beauty is stunning in this custom made Johanna Johnson dress.

If you weren't tired of Claire Danes and her Templen Grandin shtick already, you should've seen all the tweets that mentioned it yesterday...anyway, I too am tired of Danes but this Oscar de la Renta was just too pretty to pass up. The mosaic-like design might've been too Miss Universe but Claire pulls it off quite beautifully. No?

The most controversial look of the night came at the service of the amazing, Emmy winning Gwyneth Paltrow. While some found her midriff baring Pucci to be quite tacky and way too much for an awards show (have they forgotten the white one that showed her butt last year?) I thought it was an astonishing bold choice. When I saw it, it reminded me of a sexy version of the Oscar de la Renta Tina Fey wore last year and as the night passed it had flashes (no pun intended) of Nicole Kidman's wonderful gowns in the last part of Moulin Rouge! 

The see-through-ness might've been too much for some (I saw some people calling it offensive, yet overall she managed to class it up with simple hair, gorgeous makeup and effortless charm. Where do you stand on this Pucci choice?

Congrats to Gwyn!

Congrats to Academy Award winner Gwyneth Paltrow for her Emmy win last night! Gwyn won Best Guest Actress in a Comedy Series for her refreshing turn as substitute teacher Holly in the godawful Glee.

I know this isn't the most flattering picture of her EVER but I just noticed the Pixar people were wearing allusive Monsters Inc. gowns that year and couldn't resist sharing them with the world.

I'm sure Holly would appreciate the humor.

Sheet-y Saturday.

Where we take a look at posters for upcoming features.

Andrew Niccol doing sci-fi? Count me in! However I'm still unsure of what exactly does Justin Timberlake's "acting" bring to the movies...

Also this poster looks like a CK ad.

The next two posters are for the new Steven Soderbergh movies and ugh, this man is a genius. He hand picked the designers for his marketing campaign and chose some of the best in the business (the ones that make Criterion covers...)

The one for Contagion has a District 9 feel and truly what stands out in this poster, and also in the one for Haywire is that Soderbergh goes beyond the worshiping of the movie star...

...he has some of the greatest living actors in these two movies, also some of the most beautiful people. Yet on the posters he goes for an appraisal of graphic design as an art form. The one for Contagion has a very retro touristy feel. As if disease took over the mentioned cities. It's also important to mention how influenced by industrial design are these posters. The first one loves typography while the one for Haywire pays tribute to the great Saul bass and to iconic movie posters of the 70s without obviously ripping them off.

I have to admit I don't even miss seeing Fassy's gorgeous mug in it...

Excited about the new Soderbergh flicks?

Sick!

I am dying to see this movie, pardon the pun and I discussed the trailer over at The Film Experience, so go check it out!

Yowza.