List: Top 10 Worst Film Posters of 2011


Tis the season for 2011 film lists. This is the time of year where critics’ circles, bloggers, magazines, etc. roll out an endless barrage of best-of lists. I like to do a bunch of them (all going by favorites, not ‘best’); most will not be posted until January when I’ve seen most everything I meant to catch this year. I’m at 120 2011 films so far and I definitely have more I want to see. By that point, everyone will be sick of these lists, if they aren’t already, but such is the situation.

Coming up with the ten worst posters of the year is a much more difficult task than picking my favorites. For one thing, there are heaps upon heaps of mediocre to terrible movie posters every year. It becomes challenging to sift through and separate the merely bad to the incomprehensibly terrible. Several of my picks would remain under any circumstances; they jump out immediately as being particularly troubling. However, about half of my choices, while brutal, could very easily be switched out and replaced with something equally worthy of a slot.

As I said in my ‘Top 20 Film Posters of 2011’ list, my choices here are going to be a bit repetitious in regards to other lists in this vein. In brainstorming for this, I found myself agreeing with a lot of the choices made by others. So I apologize for the lack of originality here.

10. Certifiably Jonathan
The sole reason this is on here is because of how terrifying Jonathan Winters is in that picture. Font and shameless showcase of which actors will pour on the praise aside, this is just more unintentionally off-putting than words can describe. Who would look at the cover of this and want to watch it?

9. The Darkest Hour
My immediate reaction to this poster was what sealed the deal for its inclusion. The second I saw it, I burst out laughing. Other posters on this list incited guffaws and confusion, but this one really just made me laugh. It is impossible to take seriously on any level; a sorry excuse for a 3D ad. The quality is pretty substandard as well. It almost looks like a Syfy original movie.

8. A Little Help
Maybe it’s because I just don’t like Jenna Fischer. Maybe it’s because her childishly helpless expression suggests that she needs ‘a little help’. Not to mention the weird photoshop work that makes her look like Steven Tyler. In the end, I’m sure many more offensively bad posters could go in this slot…but I just see Pam from The Office when I look at this. And there are few characters I hate more than Pam from The Office.


7. Dear Lemon Lima
I appreciate a poster that wears its identity on its sleeve, but not when that identity makes me want to bash my own head in. This is the kind nauseating faux-quirk I cannot stand. Pink-haired girl’s pouty pout-pout face, the cutesy cursive, the adolescent doodles, the fucking unicorns; I can’t. Thanks, but no thanks.


6. Zookeeper
I have to admit that this poster is so awful that I actually kind of love it. I really do; it’s the only poster on here that transcends how abysmal it is, becoming something I legitimately enjoy.


5. A Bag of Hammers
There’s nothing like having the title of your film literalized in the most pitiful way possible. The title contains the word hammers. So, clearly having a poster with hammers falling out of the sky was the way to go. Are those hammers going to hit any of the characters? Why is everyone placed so awkwardly? Why is everyone looking at this kid who is creepily peeping out of the bottom? Who made these decisions and why? Surely there was a better way to advertise this film. Or is the film so boring that this really is the best they could come up with?


4. Martha Marcy May Marlene 
I get that having a QR code as your poster is theoretically a really great marketing technique. But when it renders the advertisement ugly as sin, is it really worth it? Everything about this is off; the version of this without the QR code is misguidedly bare. There are excellent posters for Sean Durkin’s debut feature that were used; it is a pity that this was the one I ran into most often in theaters.


3. The Chaperone
Does Triple H normally look like his face was molded with putty? I really know nothing about him at all. Do I really have to go into this? I mean….Good Lord.


2. X-Men: First Class 
Talk about unfortunate. There are only two things happening here and both of them are really poorly handled even beyond the lack of potential inherent within these teasers. First, the shadowy cut-out of Professor Xavier; it looks like it was shorn by a five-year old. Second, there is the disembodied floating head. Its placement was almost certainly decided from a game of Pin the Tail on the Donkey. That this is a teaser image that got approved for marketing is more than a little perplexing. Who thought this would make us want more?

1. Big Momma’s House: Like Father, Like Son
It cannot be disputed that there is a worse poster than this from 2011. It uncomfortably mocks Lady Gaga. If the tagline hadn’t been there, I’m not sure if I would have immediately understood what this poster was trying to reference. I do not see the FBI badges as FBI badges. I look at them and I see…monkey heads? I have no idea who came up with this, but it is all fake, bizarre and borderline disturbing.

Weekly Screening Log: June 3rd-9th


186. X-Men: First Class (2011, Vaughn): B+

187. Wet Hot American Summer (2001, Wain): A-


188. Russian Ark (2002, Sokurov): A


189. Pale Flower (1964, Shinoda): B+


190. Kuroneko (1968, Shindo): B+


191. Intentions of Murder (1964, Imamura): A


192. The Sword of Doom (1966, Okamoto): A-


193. Confessions (2010, Nakashima): A


194. Cure (1997, Kurosawa): B+

Review: X-Men: First Class (2011, Vaughn)


When it was announced that X-Men: First Class was being made, many including me, groaned. After X-Men: The Last Stand and X-Men Origins: Wolverine, the prospect of being put through a likely awful prequel was disconcerting. Luckily, the result is surprisingly good; director Matthew Vaughn puts forth an uneven but fresh and pulpy experience that delivers on multiple levels. My experience with X-Men is limited to a few volumes of Ultimate and Astonishing X-Men, the previous films, growing up with the animated show and their general pop-culture presence. So this review will not be looking at the film from a comic-driven perspective. That can be left to those much more knowledgeable and experienced with the comics.

The film starts by giving us insight into Erik’s (Bill Milner) childhood. In 1944, Erik and his mother are separated in a concentration camp. When Nazi doctor Sebastian Shaw (Kevin Bacon) sees Erik’s power he calls him into his office, asking him to repeat his abilities. When he cannot, Erik’s mother is shot. From then on, vengeance and anger drive him into adulthood. In the meantime, young Charles Xavier (Lawrence Belcher) meets a blue and scaly young girl named Raven (Morgan Lilly) with nowhere to go, and the two form an instant bond.

As an adult, brilliant and somewhat arrogant Xavier (James McAvoy) is on his way to becoming a professor with best friend Raven (Jennifer Lawrence) at his side. Erik (Michael Fassbender) travels the world looking for clues to Shaw’s whereabouts, set on revenge. Shaw and his Hellfire Club have a nefarious plan to trigger war between the US and Russia. Then we have CIA agent Moira MacTaggert (Rose Byrne), who learns there are mutant powers and asks Xavier for help. Once Erik finds his way to Xavier, the film tracks their initial friendship, the gathering of other mutants via Cerebro, and their efforts to stop Shaw and his potentially catastrophic plan.

Clearly, the most successful aspect of X-Men: First Class is the friendship between Xavier and Magneto. Both actors, particularly Fassbender, are outstanding and lend considerable gravitas to a popcorn summer flick. Their friendship is doomed from the start but their conversations are really what these films are about. Questioning the capacity of humanity to accept differences as well as the inherent isolation that comes with feeling disconnected from society, no matter what the cause. Are humans worth the trouble it will take to work together with them? Every X-Men film has these conversations and they always hit the same beats. The film conquers the repetition with the great acting at its center and by keeping future events looming over the conversations.

The two seemingly simple tasks that First Class succeeds in are that it is both consistently entertaining and emotionally satisfying. The breakdown of Xavier and Erik’s friendship actually has impact. The understanding that Erik’s rage will always define him has impact. I felt involved, and that level of investment in this genre is an almost entirely new feeling to me. Xavier’s first encounter with Cerebro left me with an almost giddy aftertaste. The scene when Xavier allows one of Erik’s memories to resurface is genuinely affecting. The same can be said for the way McAvoy plays the realization of his paralysis. Finally,watching just how desperate Xavier is to delay the inevitability of Erik’s desertion, is not just something the audience sees but feels. Yes, all of these examples involve Xavier and Erik, but their dynamic is at the center of this film, and it is enough to anchor any mediocrity or even flaws it is surrounded by.

As for consistently entertaining, many other films in this genre fall apart in the third act. This one does not. The uses of the mutants’ powers are imaginative. The set-pieces worked and the film is well-performed outside of January Jones who, between this and Unknown, is continuing to leave me flabbergasted by how Matthew Weiner is able to brilliantly uses her on “Mad Men”. The establishment of character relationships and seeing how everything starts is a treat as well. In short, it is entertaining.

Striving to give Raven an arc is inspired, but her final decision is lacking in believability. How does a girl with a strong and lifelong sisterly bond with Xavier end up becoming Mystique? X-Men First Class attempts to answer that question, and does so rather well, or so it seems. Every scene with Raven is meant to make us understand why she chooses to go with Erik by the end. She sees her mutation as a physical deformity. As Raven matures into an insecure woman, Xavier is unable to give her the kind of assurance she needs. Her interactions with Hank (Nicholas Hoult) confirm her need to be told she should not have to hide. Xavier misreading what Raven wants to hear, in addition to Erik telling her what she does want to hear, affect the way she views mutants place in the world. I wish Raven’s arc functioned more as the groundwork for her switch to Magneto’s side as opposed to fitting everything into one film. As groundwork, it would have been successful; as it is, something felt lacking by the end. The “mutant and proud” line did not exactly help matters.

As for some of the flaws, the film is somewhat tonally inconsistent. There are camp elements seeping in from the edges during certain scenes, and there are other times where that sense is nowhere to be found. The film could have also used violence more intelligently. The film plays as the tamest PG-13 action film imaginable. Violent things happen, but we never see them. This would be fine, but  Vaughn is incapable of making those moments have any punch without showing violence. Thus, those moments promote an indifferent and passive audience reaction. Despite my somewhat negative opinion of Kick-Ass, the action scenes were executed wonderfully there. None of that punch can be found here.

X-Men: First Class is the kind of rare superhero film that mostly works. It is a joy to watch, and it manages to ‘preboot’ a franchise whose last two films were laughable. It fuses story with character, making sure each is of equal importance, and that prioritizing is part of what makes X-Men: First Class a rewarding time at the movies.

Top 30 Films to See (May-August 2011)


This is my own personal list of the thirty films coming out this summer that I am excited for. Anything that I even had a modicum of interest in are listed in alphabetical order after the thirty films. I have seen four of these films through IFFBoston, and I put them on the list where they would have been had I not seen them.

Top 30 Films to See (May-August 2011)

  1. The Tree of Life
  2. Harry Potter and the Deathly Hallows Part 2
  3. Project Nim
  4. Beats Rhymes and Life: the Travels of A Tribe Called Quest
  5. Cameraman: the Life and Work of Jack Cardiff
  6. Tabloid
  7. Senna
  8. The Sleeping Beauty
  9. X-Men: First Class
  10. Louder than a Bomb
  11. The Missing Piece
  12. Snow Flower and the Secret Fan
  13. If a Tree Falls: A Story of the Earth Liberation Front
  14. Yves Saint-Laurent L’Amour Fou
  15. Super 8
  16. Submarine
  17. The Trip
  18. The Future
  19. Make Believe
  20. Buck
  21. Kung Fu Panda 2
  22. Conan O’Brien Can’t Stop
  23. Hobo with a Shotgun
  24. The Troll Hunter
  25. 30 Minutes or Less
  26. Bellflower
  27. Page One: Inside the New York Times
  28. Gainsbourg
  29. Crazy, Stupid, Love
  30. Winnie the Pooh

Another Earth
Apollo 18
The Art of Getting By
Bad Teacher
The Beaver
Beginners
A Better Life
The Bleeding House
Bridesmaids
Captain America: The First Avenger
Cars 2
Caterpillar
Circumstance
City of Life and Death
Cowboys and Aliens
The Debt
The Devil’s Double
Dirty Girl
Don’t be Afraid of the Dark
Everything Must Go
Final Destination 5
The First Grader
Friends with Benefits
Fright Night
The Green Lantern
The Help
Hesher
Hey Boo: Harper Lee and To Kill a Mockingbird
Horrible Bosses
Kidnapped
Last Night
The Ledge
Life, Above All
Love, etc.
Midnight in Paris
My Afternoons with Margueritte
Octubre
One Day
One Lucky Elephant
Our Idiot Brother
The Perfect Host
Pirates of the Caribbean: On Stranger Tides
Priest
Rebirth
Rise of the Planet of the Apes
Salvation Boulevard
Sarah’s Key
Skateland
Terri
Thor
Three
Transformers: Dark of the Moon
Thunder Soul
The Whistleblower