COLOR OUT OF SPACE (2019) Movie Poster, US 1Sh DS, Nicolas Cage, RARE!
Condition Very Fine / Near Mint (9.0)
Size US One Sheet Post '85 (27" x 40")
COLOR OUT OF SPACE (2019) Movie Poster, US One Sheet - Starring Nicolas Cage, Joely Richardson, Directed by Richard Stanley Movie Poster and Condition Condition: This extremely rare US DS...
COLOR OUT OF SPACE (2019) Movie Poster, US One Sheet - Starring Nicolas Cage, Joely Richardson, Directed by Richard Stanley
Movie Poster and Condition
Condition: This extremely rare US DS One Sheet is in VF-NM condition with only very minor edge and handling wear. This has come out of cinema and has had light use - back of posters shows a very faint darker border on outer edge with internal light fade that is consitent with commercial light box use - this is only visble on back on close inspection. The artwork design by Matt Taylor for the poster is bright, striking and beautiful to look at.
This poster is currently stored flat and will be rolled, carefully packed and shipped in a cylinder.
Crafted by acclaimed illustrator Matt Taylor, a frequent collaborator with Mondo, this poster showcases vivid and captivating artwork that perfectly embodies the film's eerie atmosphere.
Movie Synopsis
Color Out of Space (2019) is a gripping science fiction horror film directed by Richard Stanley, marking his triumphant return to feature filmmaking after a 25-year hiatus. Co-written by Stanley and Scarlett Amaris, the movie is a modern adaptation of H.P. Lovecraft's 1927 short story "The Color Out of Space," widely regarded as one of the author's finest works. Lovecraft himself proclaimed it as his best tale, and Stanley's version honours the source material while infusing it with contemporary flair.
The story centres on the Gardner family, who have relocated to a remote farm in rural Massachusetts to escape the hustle of city life. Nicolas Cage stars as Nathan Gardner, a man attempting to embrace off-grid living by raising alpacas and tending to his garden. His wife, Theresa, played by Joely Richardson, is recovering from cancer, adding layers of emotional depth to the narrative. Their children include the rebellious teenage daughter Lavinia (Madeleine Arthur), son Benny (Brendan Meyer), and young Jack (Julian Hilliard). The family's peaceful existence is shattered when a mysterious meteorite crashes onto their property, unleashing an otherworldly force that defies human comprehension.
As the meteorite's influence spreads, bizarre phenomena plague the farm: unnatural lightning storms, rapidly mutating flora and fauna, distorted time perception, and a pervasive, indescribable colour that permeates everything. This hue, depicted as a shifting magenta—a colour that doesn't exist in the visible spectrum as a single wavelength—symbolises the alien entity's incomprehensible nature, aligning with Lovecraft's theme of cosmic horror where entities are beyond human understanding. The family's sanity unravels in unique ways, leading to grotesque body horror transformations reminiscent of David Cronenberg's works like The Fly (1986) and John Carpenter's The Thing (1982), with special effects by Dan Martin drawing direct inspiration from these classics.
Production facts add intrigue to the film. Shot in Portugal's Sintra and Lisbon regions from January to March 2019, the movie premiered at the Toronto International Film Festival on 7 September 2019 (just prior to Covid), earning praise for its visuals and Cage's unrestrained performance. With a runtime of 111 minutes, it blends humour, particularly alpaca-based comedy, with intense body horror, though some critics noted the humour occasionally overshadows the dread. Stanley, fired from The Island of Dr. Moreau (1996) early in production, channels personal experiences into this passion project, making it the first in a planned Lovecraft trilogy, with The Dunwich Horror next. The film's magenta choice cleverly represents the story's impossible colour, as magenta is an extraspectral hue created by the brain mixing red and blue light. Tommy Chong appears in a memorable, creepy role as the hermit Ezra, adding to the eccentricity.
Critically, Colour Out of Space is lauded as a faithful yet inventive Lovecraft adaptation, capturing the essence of existential terror. Cage's manic energy ensures no dull moments, while Richardson delivers a convincing portrayal of vulnerability. The cinematography by Steve Annis masterfully conveys the flux of colours, and the score enhances the unsettling ambiance. Despite some pacing gaps and expository dialogue, it's a visually stunning entry in Lovecraftian cinema, appealing to fans of weird, mind-bending horror.
To find out more about Color Out of Space (2019) click here to go to IMDB.com.
Special Notes
Images may have a small 'MPA' digital watermark and this does not appear on the poster. Posters are being held by magnets in the corners to take photographs, so you may see some magnet and shadows from the magnets in these areas. The magnets are not included in the sale of the item.
Postage, Insurance & Your Country Taxes
Postage costs are quoted for this item, include insurance up to AUD$100, but if you reside outside of Australia, the price does not include any import taxes/fees that you may be required to pay when the item reaches your borders. Please check with your local authorities for any additional taxes or fees. If you would like full insurance coverage for your purchase, please message me and I would be happy to quote the additional cost (estimate is AUD$2.50 p/AUD$100 or 2.5% of the item value, up to a maximum item value of AUD$5,000).
FAQ
At Movie Posters Australia, the love and conservation of movie posters comes first, and we like to share this passion. Our commitment to quality means we will provide high quality memorabilia to our customers. Posters are carefully chosen and authenticated to ensure originality and value. We want our customers to trust MPA, so we always try to be as open and transparent as we can, provide detailed condition information and images, to ensure customers are comfortable and confident in their purchase.
While the industry does have a few condition rating standards, there is no movie poster condition rating system that has become the accepted standard world wide. This unfortunately makes condition terms vary from movie poster dealer to movie poster dealer. Terms like Mint, Near Mint, Very Fine, Fine, Very Good, Good, Fair, Poor, seem to be universal to most condition rating standards, but most standards still lack definition about what and how many flaws/defects/damage defines a specific condition level. For more information on how Movie Posters Australia grades the condition of its movie posters, daybills, lobby cards and other ephemera please see out Movie Poster Condition and Grading page.
In the early days of cinema, posters were primarily hand-drawn and printed in various sizes, often tailored to fit the available space in theaters or promotional areas. In the United States, the "One Sheet" size (some times called '1 Sheet' or '1SH' approximately 27" x 41", became the standard during the 1930s. This size was manageable for theater display and suited the needs of a growing film industry.
Different countries developed their own poster sizes and styles, which also changed sometimes over the decades, and were influenced by local preferences and practical considerations, like available paper sheet sizes and how many posters could be printed on one sheet.
In Australia, the most popular size, the Daybill, has evolved over the decades. Australian Daybills sizes in chronological order are:
- Long Daybills (15" x 40"), from 1920's to pre-WW2 or pre-1941, were printed two to a sheet, longer than current Daybill versions. There were size variances in width from 14.5" to 15" and in height from 39.5" to 40".
- War Time Daybill (10" x 30"), during WW2, for a short time to conserve paper during a war time shortage, four Daybills were printed on one sheet. Information from Press Sheets also referred to these War-Time sizes as "New Size Daybills".
- Post-War Daybill (13" x 30"), this 13" x 30" Post-War size carried through until the 1980's, but also varied in size from 13"-14" x 29.75"-30.25".
- Post-80's Daybill (33cm x 66cm, or 13" x 26"), over a few years in the late 80's, the size changed again to a metric 33cm x 66cm, although these have also varied from 32-33cm x 64.5-66cm. New sizes from the late 80's were created, sometimes called a Mini Daybill or Mini Poster, in 9" x 12", 11" x 17" and 13" x 20".
In the UK, the somewhat unique 'Quad' poster, measuring 30" x 40", became popular, offering a larger landscape format that allowed for more elaborate designs.
In Japan, movie poster sizes were smaller, such as the "B2" (20" x 28"), which suited the more compact living environment of larger cities, smaller advertising spaces, and unique aesthetic sensibilities.
The 1970s and 1980s, witnessed the rise of the "six-sheet" (81" x 81") format, reflecting a trend towards larger and more visually impactful advertising.
Overall, the variation in movie poster sizes across different countries and decades highlights the interplay between technological printing advancements, paper resource availability, paper sheet size changes, cultural preferences, and the evolving nature of movie marketing.
At Movie Posters Australia we tag each poster we sell with a 'size' and 'condition' description at the very top of the page for our customers to easily see. There may however be some slight variations to sizes by up one inch due to variations in production and guillotine methods by printers over the decades.