Two weekends ago, the one with fireworks and grilling, Will Smith clinched its fifth Fourth of July with a number-one movie as Hancock raked in $66 million at the box office. A few months ago, with neither fireworks or grilling, I was contacted by one of the editors of Radar magazine, who were looking to run a critique of Big Willy’s latest poster. Of course, I obliged. The very neatly edited final piece is currently running in the July/August issue on newsstands now — which also happens to sport a new design, full of Cooper Black and primary colors, designed by Pentagram’s Luke Hayman. Here, so that the cut words don’t gather too much digital dust, is the full critique of Hancock’s poster, designed by BLT & Associates.
On the possible American Eagle Outfitters logo on his wool cap
It does look like the American Eagle Outfitters logo, although theirs is facing the other way and doesn’t look as if it just slid on a banana peel and fell on its eagle ass. If it is indeed a wool cap from AE, I would let the cynic in me believe that it is pretty smart product placement. But beyond the eagle’s origins, it does come to represent strength and resilience as the eagle patch is holding together the crumbling wool cap.
On the eagle reflected in the sunglasses
It’s probably a poetic way of representing Hancock facing and meeting his destiny. The strong, soaring free eagle represents what he can be, as opposed to the ragged eagle he is, represented by the one on his forehead. I also can’t help but see the eagle as a patriotic statement — the movie is opening on July 4th after all, how much more American can you get?
On Smith’s eyes being totally covered by his sunglasses
I actually think it works better this way. With such a tight close-up of Smith’s face, his eyes would probably be too creepy. It also helps turn the poster into an imagination, rather than a realistic depiction of how a pair of sunglasses would photograph.
Plus, if Hancock can do what Men in Black did for Ray-Bans, these elephantine sunglasses will be the next hot thing — and this is the perfect product shot.
On the scruffiness
It conveys the plot perfectly, specially when paired with the tagline. It quickly lets the viewer know that Hancock is way less than perfect, that he has many faults and, most importantly, that he is the antithesis to Superman’s metrosexual ideal of a perfectly groomed superhero.
On first impressions
The first thing I noticed were the pursed lips. I really don’t get it. They also look heavily Photoshop’d, a shade lighter than the rest of the face. It makes it look like he is sitting in the toilet after eating too many bran muffins, if you know what I mean.
On the pursed lips, more
I would think they were trying to convey a sense of ambivalence, defiance and general the-fuck-do-I-care attitude. It’s also a way of deprettyfying (sorry, made up word) Will Smith. The pursed lips remind me, at best, of Zoolander’s “Blue Steel.” It’s hard to detach yourself from the brand that Will Smith has become: Smiling, charismatic, friendly. So this “look” feels, as we say, off brand; it’s forced, unnatural and, well, wrinkly.
On the earring mark
The way Hollywood images are manicured, I doubt this was an oversight. But even if it was, it helps in maintaining the story that Hancock is a weathered man, he has been through many things, and his past is a mystery — maybe he even was a young TV star with a million dollar smile that then made it big but, in the end, his luck turned sour.
On the typeface
The font choice is completely wrong. It’s a very geometric and square font, very “techie”, suggesting that it was computer generated. On first impression, I would think that Hancock was a government experiment gone wrong and that his superpowers were the result of bionic limbs and superchips instead of gray matter. The font is also similar to the one used in another Will Smith movie, Enemy of the State, in which technology plays an important role, and the font swiftly conveys that. However, if you want to get geeky, the font looks to be a modified version of Bank Gothic, designed in 1930 by Morris Fuller Benton, who was one of the great American typeface designers — so maybe, this is a very (VERY) subtle way of extending the patriotic bent of the poster.
Spot on?
It works. It’s Will Smith. It’s big. It’s a Summer movie. It has two eagles. What else could you ask for?
It works?
No it doesn't. And after reading your critique I don't understand how you got to that conclusion either?
On Jul.15.2008 at 09:06 AM