Tom wrote:It actually appals me the lack of effort that goes into sales ads/posters these days. It's pathetic. If there's absolutely not care seemingly given to these films, then why the hell should people watch?
If I was running a film company I'd be ashamed to put something so lame up.
I agree it's quite hideous (especially with this font), but for film distribution sales at film markets it doesn't necessarily have an effect on sales, they even always have one, or throw names on black background.
And when they don't make any much effort is often when they don't need to because they already know it's a done deal or have sold most territories. Whereas the slickest market key art advertising are often for the shoddiest titles (hence the fun flyers for the really low budget exploitation flicks).
I know it can be hard to understand from our perspective, but good or bad strategy, the film markets mentality and practices work differently and methods of selling are not the same as to advertise a movie to the audience (that's why often the early promos don't work and shouldn't be shown to the public - I've seen the SKIN TRADE promo last year and it's best it didn't get online).
Screenplays are also shown although most of the times buyers don't read them unless they're not sure. And maybe we'll see a real updated key art in a few days in the Variety or Hollywood Reporter Cannes dailies (VMI took out their recent RIOT one to replace it soon I guess)...
A heist movie called "The Last Heist" produced by Rick Benattar (Real Still, Shoot'em up, ironclad ...). 
