Blacklight is a 2022 action thriller film directed and co-written by Mark Williams. The film stars Liam Neeson as a brooding FBI fixer who becomes involved in a government conspiracy.

Blacklight was released in the United States on February 11, 2022, by Briarcliff Entertainment. It struggled both commercially and critically. With a production budget of $43 million, it only grossed about $16 million worldwide, making it a box-office bomb.

Alias Cactus was used for title credits.

The Irishman is a 2019 epic gangster film directed and produced by Martin Scorsese, based on the 2004 book I Heard You Paint Houses. The film chronicles the life of Frank Sheeran, a WWII veteran and union truck driver who becomes both a top hit-man for the Bufalino crime family and a close friend of Teamster’s former president, Jimmy Hoffa. Now in his final years, he looks back on how much that life has truly costed him.

The Irishman's logo uses ITC Grouch in a stark red color, echoing the gangster films, time period and its aesthetics that preceded this movie. This logo is never actually used in the movie which in my opinion is a missed opportunity. It is paired with Netflix Sans and FF DIN in the poster.

Throughout its runtime, The Irishman uses freeze frames accompanied by a text card mainly for characters who play a small role and pass away outside of the movie. These text cards, as eerie as they are, use ITC Franklin Gothic Book and look classy doing so. It is also used for the end credits. The title sequence near the start uses Arial Black. I love Arial as much as the next guy but this is a very strange choice, especially since this is the only time the movie uses it.

Title sequence. “I Heard You Paint Houses” was also Scorsese’s preferred name for the movie; that’s why it appears in the beginning.

“Angelo Bruno – shot in the head sitting in his car outside his house, 1980”

“Joseph P. Kennedy, Sr. – died 1969 after a long illness”

End credits, which features the title once more.

Linda Mai Green is a filmmaker based in San Francisco whose work often explores women’s internal landscapes through surreal visual narratives. Alongside directing music videos, contemporary Indigenous dance films, and Vietnamese American voter turnout ads set to cha-cha-cha rhythms, Green has developed a diverse body of work supported by institutions such as SFFILM—where she was a 2024–2025 Resident—as well as the Mill Valley Film Festival, Eastern Oregon Film Festival, and The Redford Center. In 2025 she premiered her award-winning narrative short Mondegreen, which is currently on the international festival circuit. The film’s poster and title graphics were designed by Mike Tully, a New York–based independent designer, educator, and writer who collaborates with artists, architects, publishers, and cultural institutions on editorial, exhibition, identity, and research-driven design projects.

For the opening titles, Tully chose DOSS, designed by Marc Rouault and distributed through Sharp Type. Specifically, the titles use the Problem Micro style from the DOSS collection, combined with Sharp Earth for supporting typography. Inspired by the logotypes of construction and hi-fi audio brands, the DOSS family also references the aesthetics of ’90s rave culture and ’80s sci-fi. Across its styles—Exaflop, Acid, Plexus, and Problem—it is characterized by exaggerated geometric structures, rounded counterforms, and unicase character sets. Paired with the pragmatic, globally oriented sans serif Sharp Earth, the typography in Mondegreen’s opening sequence balances expressive display forms with functional clarity, demonstrating how contrasting voices from the same type foundry can shape the tone of a cinematic title sequence.

Illyricvm is a European historical-adventure film, co-written and directed by Simon Bogojević-Narath. From IMDb:

The year is 37 BC. A young Liburnian Volsus is taken by a Roman unit to help in what at first seems a simple task of collecting taxes, but the encounters with local Illyrian tribes soon lead to unexpected turns of events, as they show more resilience to subjugation than meets the eye. We see their archaic, emotional world of quaint and brutal laws and traditions through the eyes of this youngster, regarded by the Romans as a primitive barbarian, and gradually come to understand that their world is not all that different from our own.

Design for the film was done by Andro Giunio who used Rector for everything from the poster to the title credits.

The film Sentimental Value uses Waldenburg Semi-Condensed Black for its logo and credits, Waldenburg Regular for the quotes in the trailer, and Waldenburg Medium for the film posters. Century Schoolbook or similar serves for the blurb sources.

The synopsis is presented as follows by Letterboxd:

Sisters Nora and Agnes reunite with their estranged father, the charismatic Gustav, a once-renowned director who offers stage actress Nora a role in what he hopes will be his comeback film. When Nora turns it down, she soon discovers he has given her part to an eager young Hollywood star.

Theatrical release (40″×60″) poster

From Wikipedia:

The Lord of the Rings is a 1978 animated epic fantasy film directed by Ralph Bakshi from a screenplay by Chris Conkling and Peter S. Beagle. It is based on the novel of the same name by J. R. R. Tolkien, adapting from the volumes The Fellowship of the Ring and The Two Towers. Set in Middle-earth, the film follows a group of fantasy races—Hobbits, Men, an Elf, a Dwarf and a wizard—who form a fellowship to destroy a magical ring made by the Dark Lord Sauron, the main antagonist.

While the art on the posters is by Tom Jung, the title is shown in lettering loosely based on Victor Hammer’s Hammer-Unziale (1923). It’s paired with American Uncial (1943) – a later typeface by the same designer – for Tolkien’s name. Hammer-Unziale also sees direct use for “fantasy beyond your imagination” on the poster shown below. The billing block is set in ITC Bookman. ITC Korinna, another design by Ed Benguiat, features for the synposis and the character names, respectively.

International One Sheet (27″×41″) poster

Subway (45″×58.75″) Advance poster

Teaser poster

From Wikipedia:

Marty Supreme is a 2025 American sports comedy-drama film co-produced and directed by Josh Safdie from a screenplay he co-wrote with Ronald Bronstein, loosely based on the life and career of American table tennis player Marty Reisman. Co-produced by and starring Timothée Chalamet, the film also features Gwyneth Paltrow, Odessa A’zion, Kevin O’Leary, Tyler Okonma, Abel Ferrara, and Fran Drescher in supporting roles.

The main posters feature the title in a stretched and manipulated version of Gill Kayo Condensed and corresponding headers in Neue Helvetica Condensed, including its Heavy style. The billing block is set in Bee Two.

Eric Gill, the designer of Gill Sans, initially called the ultrabold style “Sans Double Elefans”. Released as Kayo, derived from “K.O.” (i.e. knockout in boxing), it feels appropriate for the main movie title on the poster, as it is a very prominent typeface used in sports.

The movie logo compared to a resetting in Gill Kayo Condensed with stretched letterforms. Various subsequent optimizations have been made, see for example the horizontals in T and E, the counters in A and Y, or the bottom of U. In the process, some glyphs like R ended up resembling Gill Sans Extra Condensed Bold.

Timothée and Josh Safdie imitating the Marty Mauser pose at the Marty Supreme black carpet in Los Angeles.

Gwyneth Paltrow in front of the movie logo

For Song Sung Blue, which premiered at the AFl Film Festival on October 26, 2025, Focus Features embraced a distinctly typographic approach. The film’s title and promotional material all feature Bookmania from Mark Simonson Studio, a revival of the classic Bookman that bridges warmth, character, and polish.

The designer made striking use of the swashes included with Bookmania, giving the film’s typography a showbiz vibe often associated with entertainment branding. The typeface appears in the trailer, multiple poster versions, and event backdrops. Altogether unifying the film’s visual identity that wouldn’t feel out of place on an album cover from Neil Diamond’s heyday in the seventies.

The result is a typographic system that feels both classic and energized—an apt reflection of the film’s subjects, a duo whose heartfelt Neil Diamond and Patsy Cline tributes made them local legends in the late ’80s and early ’90s.

Source: www.flickr.com Uploaded to Flickr by Bart Solenthaler and tagged with “safari”. License: All Rights Reserved.

From Wikipedia:

Brain Damage is a 1988 American comedy horror film written and directed by Frank Henenlotter. It stars Rick Hearst in his debut acting role as Brian, a young man who becomes acquainted with a talking parasite known as Aylmer (voiced by John Zacherle) that injects him with an addictive fluid that causes euphoric hallucinations; in return, Aylmer demands that Brian allow him to feed on the brains of other humans.

The movie logo in red animated caps with irregular counters is based on a typeface that was almost thirty years old at that point: it’s the boldest weight of Safari, released around 1960 by Headliners. In 1963, the Medium weight was used on the cover of Where the Wild Things Are.

Source: vhsrevival.com License: All Rights Reserved.

Movie poster with a 1986 copyright notice. The wide sans used for the tagline “Inside everyone’s head lurks an Elmer” and the credit was identified as Antique Olive large, see the comments.

Source: www.imdb.com License: All Rights Reserved.

Movie poster by Manson International, featuring Rockwell Bold in all caps for secondary type including the tagline “Now you’re really out of your mind.”

Source: www.amazon.com License: All Rights Reserved.

Arrow Video Blu-ray cover

License: All Rights Reserved.

Small type is in Helvetica Black.

Say Nothing is a 2024 historical drama about the Troubles in Northern Ireland, created by Joshua Zetumer and adapted from the 2018 book by Patrick Radden Keefe. The series premiered on November 14, 2024, on FX on Hulu.

Posters and trailers for the series use the font Dukane, designed by Rian Hughes for his foundry Device Fonts.

This upteenth remake of The Body Snatchers directed by Abel Ferrara, produced in 1993 and released in 1994 features a very 90s looking design with elongated and skinny letters and wide spacing.

The title typeface is the then brand new Tube. Designed by Lewis Tsalis, it was released with T-26 in 1994. [Edit: no, it’s rather David Quay Mekanik (1988), with a modified N, see comments.] The subline “The Invasion Continues” is added in stretched Futura Extra Bold.

The poster for the theatrical release is credited to B.D. Fox & Friends Advertising. The tagline is in Engravers Roman.

The Blu-ray Disc cover has the title with a monochrome bevel effect. The tagline here is shown in Futura Condensed.

The quote on the back of the DVD cover is in Industria. Additional text uses several styles from Helvetica.

A Norwegian production, The Ugly Stepsister is a satirical black comedy body horror film retelling the story of Cinderella from the perspective of one of her stepsisters. In August 2025, the film was released on the Mubi streaming platform. The title of the movie is set in the Blackletter style of CSTM Xprmntl 03.

Secondary fonts used on this poster include Girga for the tagline “A story of two ladies going south”, Univers Bold Italic for the names, and Bee for the credits. The wide sans at the very top and bottom was identified as Sequel Sans, see comments.

Drive-Away Dolls is a 2024 crime comedy directed by Ethan Coen and co-written with his wife Tricia Cooke, who was also the film’s editor and uncredited co-director. It stars Margaret Qualley and Geraldine Viswanathan as two lesbian friends on a road trip that takes a wrong turn. Set in 1999, the film has a gritty aesthetic that fits its classic caper plot.

The film posters and trailers use Freehouse by Rian Hughes for the title. The distressed version of Freehouse, designed “to evoke rough print on a wet beermat”, was used on an earlier poster release.

“Official trailer 2” is added in all-caps Brandon Grotesque Light.

This poster designed by AV Print additionally uses Trade Gothic Next Compressed.

Harry Lighton’s debut film, Pillion, makes confident use of Tactic Sans, the sharp-shouldered typeface designed by Richard Miller for Miller Type Foundry. Both the teaser posters and the trailer titles are set in Tactic Sans Extra Extended Ultra, stretched across portraits of Harry Melling and Alexander Skarsgård.

From the promotional trailer for the film Anemone (2025), a psychological drama and directorial debut from Ronan Day-Lewis. Notably, the film features Ronan’s father, Daniel Day-Lewis, coming out of retirement to star in his son’s film.

The names and titles are set in Liesel, a hand-lettered style font by Magpie Paper Works, featuring flowing swashes on the capital letters.

The secondary typography uses the rough-edged Adorn Slab Serif by Laura Worthington Design.

The title treatment for The Fantastic Four: First Steps was first teased in 2024 by Marvel Studios for its feature film scheduled for cinematic screening in 2025.

With the conscious choice to reintroduce adding “the” before “Fantastic” and a nod to the earlier comics of the Fantastic Four series, this main title is typeset in DJR’s Condor Compressed Medium Italic with modified letters F and c in “Fantastic”.

The new number 4 logo design also present on the Fantastic Four hero uniforms takes sole presence, omitting a redundant use of the word “Four” in the titles as they have been presented in the title treatment’s history so far.

Above the main title we see the Marvel logo placed with the word “STUDIOS” set in Jason Walcott's Hooligan JF. Below we see the subtitle “FIRST STEPS” set in a slanted version of Jens Gehlhaar's FF Neuwelt Inline.

Portuguese version, with custom Q tail and r hook.

French version, with custom q.

The secondary text on this French poster is in Brother 1816.

Makeshift language extension for Vietnamese

Video: https://www.instagram.com/p/DMvb96SvCVw

Bookmania, as the lead typeface for the Woman of the Hour posters, is typecasting in a good way. Percival & Associates leaned into the Netflix film’s 1970s television aesthetic without going full pastiche. The typeface, used for logotype and copy, effectively supports the imagery, and delivers a strong tonal weight for the series.

Of course, Bookmania was the appropriate choice because of its heritage. It is a revival of Bookman that saturated advertising, packaging, and headlines in mid-century America. It’s chunky, upright, and filled with swash alternates, and here it nails a specific cultural cue: mainstream, upbeat, just a touch clever. It’s just the kind of type you might see on a dating game show backdrop.

Align was modified for the posters and film titles for the movie The Monkey adapted and directed by Osgood Perkins, which is based on a short story by Stephen King.

Since it was a larger movie production there were big cardboard cutouts in conjunction with the film posters at movie theatres.

There has been a reissue/reprint of the original collection of short stories, Skeleton Crew, where the story “The Monkey” originally debuted.

In the title sequence designed by Filmograph, Align is paired with a yet unidentified sans.

Theatrical release poster (DIN A1) with the small bits in orange Times Bold

German designer Peter Sickert loved to work with Intrigue. In 1974, he used the bold condensed octagonal sans for Jodorowsky’s Montana Sacra. The same year, Sickert also selected it for another poster, for a drama film by Werner Herzog. This time, Sickert didn’t enhance the blocky design by adding a drop shadow, but instead through a central-perspective 3D effect, featuring orange letters with pale olive edges.

Jeder für sich und Gott gegen alle (“Every Man for Himself and God Against All”) follows the true story of foundling Kaspar Hauser. For the main role, Herzog casted Bruno S., a self-taught street musician who didn’t have any previous acting experience. Known in English as The Enigma of Kaspar Hauser, the film won the Grand Prix Spécial du Jury at the 1975 Cannes Film Festival.

[More info on IMDb]

A later A1 poster in black and white mentions the triumph at Cannes 1975, and assembles various accolades set in reversed Helvetica.

La montaña sagrada (English: The Holy Mountain) is a 1973 Mexican surreal film written, directed and produced by Alejandro Jodorowsky. The avant-garde filmmaker also played the main role.

In Germany, the film was named Montana Sacra – Der heilige Berg. Distributor Constantin-Film commissioned Peter Sickert and Dieter Noss with the poster design. For the title, they used Intrigue, outlined and with a shadow effect.

Intrigue is an octogonal sans with similarities to ITC Machine. It was shown by Lettergraphics in the late 1960s, thus predating the ITC release which came in 1970. In 2013, Pink Broccoli made Contraption. This digital interpretation of Intrigue expands the design into two widths with five weights in upright and oblique styles, plus one Inline style. Contraption Black comes closest to the original style.

Via Beardsley’s request on fontid.co. Kudos to Kevin for tracking down Contraption.

Intrigue as shown in Lettergraphics’ Letter-Fan from 1969

Detail

This alternative poster also shows some of Intrigue’s lowercase, among other things.

Two mini posters for Montana Sacra. The one with the blurbs features a bichromatic setting in orange and purple.

Lobby cards with the movie logo