Celluloid Heroes: My Favorite Posters of the Decade

With all the different ways that studios can market a movie these days, it’s nice to see that movie posters haven’t completely fallen by the wayside. Sometimes, a single image can make or break my interest in a film, and though trailers speak louder than posters, it certainly helps when you’ve got a kick-ass one to display in movie theaters. As part of our look back at the movies of the 2000s, here are some of my favorite posters from the last decade. You’ll probably notice that a good percentage of them come from the last two years, and while that may be representative of studios having to be more creative than ever, I think it’s more just a result of my constantly evolving taste.


“Antichrist” (2009)

Lars von Trier’s latest film has been stirring up controversy ever since its premiere at the Cannes Film Festival earlier this year. I still haven’t seen it myself (and I’m guessing I’ll probably hate it when I do), but this poster is great nonetheless. It’s both beautiful and ugly in its marriage of eroticism and nature, and the chaotic lettering crudely written across the image gives you a pretty good idea that you’re not about to see just any ordinary film.

“Cold Souls” (2009)

Paul Giamatti has a great face, so it only makes this Matryoshka doll concept that much more interesting. When viewed in context of the movie’s plot – about a suffering artist (Giamatti playing a fictional version of himself à la “Being John Malkovich”) who stores his soul for safe keeping – it also says everything without really saying anything at all.


“Grace” (2009)

In terms of sheer grotesqueness, the indie horror film, “Grace,” takes the cake for its simplistic blood-in-a-baby-bottle. The fly perched on top is also a nice touch. Still, there’s something quite alluring about the image in that it doesn’t so much make you sick (like the posters for Eli Roth’s “Hostel: Part II”) as it does curious about the movie.

“Moon” (2009)

There’s certainly not a lot going on in the official poster to Duncan Jones’ directorial debut, but it mimics the quiet tone of the film perfectly. That trippy stereoscopic sphere stationed behind Sam Rockwell steals my attention every time, and that’s all you can really ask for from a poster.

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Of all the places you’d expect to possibly find a series that possesses overtones of David Lynch’s work, one of the last would probably be Ion. You may remember it as PAX TV, but that was a long time ago. These days, it’s home to a great number of series that definitely go against what you used to see on the network during the early part of the decade. Gone are the “Touched By An Angel” and “Highway to Heaven” marathons, replaced by reruns of “NCIS” and “Criminal Minds.” Tonight, they’re bringing a Canadian series to their airwaves for its Stateside debut…and, yes, “Durham County” is just as dark as the Lynch reference suggests. Unless, of course, you see anything light about a series focusing on a homicide detective who moves his family to the suburbs to start over after his partner is killed and his wife is diagnosed with breast cancer, only to discover that his new neighbor (and former childhood nemesis) may be a serial killer. We had a chance to speak with star Hugh Dillon – who you may also recognize from his work on another Canadian import, CBS’s “Flashpoint” – about his work on both of his current series, his role as Joe Dick in “Hard Core Logo,” and his life as a real-life rock ‘n’ roll star while fronting the Headstones.

Stay tuned for…

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