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Movie Review Logo Design

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The best movie logos

The most effective logos to come out of the world of cinema.

Hollywood is all about mythmaking, and that makes the designed matter that accompanies a movie as important as the trailer, the buzz and the post-weekend chatter about box office.

We're not necessarily looking at the best logos to do with cinema in this story – with decades of iconic names in poster, logo and title treatment design that'd be too long a list. Instead, the best movie logos are the ones that capture and convey something about the movie, something that tells its own story elegantly and quickly, although they may not be up there with the best logos of all time.

To find the best ones we went to designers – some of whom have worked in movie logos themselves – and asked which ones they like and why they work. Below are their picks, in no particular order. If you're into movie-making and want to have a go at creating your own, see our how to design a logo post.

01. Star Wars

As Mark Braddock, co-founder and creative director of Australia's Block Branding says, a logo associated with a film is a modern concept from the age of movie merchandising.

" Star Wars sparked the notion of films morphing into brands, their titles evolving into bona fide logos," he says. "The studios grasped the potential of crafting brands that peddled more than just tickets."

Designed by fine artist Suzy Rice based on previous work by famed Star Wars concept designer Ralph McQuarrie and typographer Dan Perri, the classic Star Wars logo we know homaged 1930 German fascist propaganda (as George Lucas told Rice he wanted).

As you'd expect, it's so famous by now both the credit and its influences have become a bone of contention among rabid fans, some of whom harassed Rice about it so much she posted on her blog in 2011 that she wouldn't be addressing it any more.

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02. Ghostbusters

Braddock calls the Ghostbusters logo a classic example, pulling double duty for the in-movie business and fusing seamlessly with merch. "It was a masterclass in purposeful cohesion. It wasn't just about worshipping movie characters, you aspired to be a Ghostbuster rather than just a distant admirer," he says.

All that said, Braddock's favourite movie logo might not even be a logo as such, but he explains. "The title/poster for Ridley Scott's Alien is sheer brilliance. Scott came from commercials, maybe that's why the marketing felt more like a brand unveiling than a movie launch.

"The typography was understated with its chilly spacing and accentuated isolation. The title sequence of fractured letterforms methodically forming against the cosmic expanse is a metaphor for the film's themes."

Andrew Bannister is a UK designer and illustrator who's worked across entertainment design fields, and his first pick is 1986 Grace Jones vampire vehicle, Vamp (designer unknown).

"The type is crafted so well," Bannister says, "emphasising the points in the letters so they form the vampire fangs. Then the strong red lipstick mark works like a stamp over the top. It immediately communicates what you're getting – a fun, trashy horror comedy film."

05. Bridge on the River Kwai

Bannister's next choice is region specific. While most design materials for David Lean's Bridge on the River Kwai (1957) followed the organic, rough hewn, almost comic book aesthetic trends of the day, Bannister thinks designer George Kerfyser's French version, which makes a logo out of the title, plays effectively with a sense of scale.

"The word 'Kwai' feels like a strong, robust structure. The image communicates a sense of foreboding about the huge task ahead building and trying to destroy the bridge.

"I love the way 'Kwai' is immersed in the water and the simplicity of colours. Simple paint strokes and bold typography expresses a narrative without the need for any images from the film. Two years later the Ben Hur poster did the same thing by turning the title into a stone architectural feature from the Circus Maximus."

06. Westworld

Somewhat predicting the double duty aesthetic of Ghostbusters and Jurassic Park , Bannister also likes Neal Adams' poster for Westworld (1973). 

"Westworld has its own vivid key art but the title is treated like it was the identity for the theme park entrance itself – used again in Jurassic Park, which was also written by Michael Crichton.

"It give us the sense we're about to experience a new kind of utopian vision that's almost too perfect, then the tagline below tells us it's not quite what it seems on the surface."

07. Naked Lunch

Bannister is also taken by the title treatment for the UK release of William S Burroughs adaptation Naked Lunch, which used designer Randall Balsmeyer's title design.

"It feels like the world of animation experiments by filmmakers like Norman McLaren in the 40s or 50s," Bannister says. "It reflects the subject matter well – a modern interpretation of a classic novel – and contains visual cues hinting at drug use, hallucinatory states and the original non-linear structure of the novel."

08. Blockers

Tomasz Opasinski , a Polish multi-hyphenate artist who's worked on plenty of entertainment art, likes the title treatment for raunchy 2018 comedy Blockers.

"[It's] a masterful blend of simplicity and boldness," Opasinski says. "It instantly resonates with the target audience while maintaining an air of intrigue for those who might not initially be drawn to it. Straightforward typography and clever iconography creates a visually striking, enigmatic experience. It works on multiple levels, making it a memorable and effective representation of the movie."

09. Grand Piano

Opasinski also calls Spanish language title treatment of 2013 thriller Grand Piano a stroke of genius.

"The integration of piano keys in the typography goes beyond mere aesthetics," he says. "It becomes a 'second read' that enriches the design. Whether in isolation or in the poster it's a strong, independent visual element that captures the essence of the film and enhances your understanding of the story, complementing and elevating the movie's identity."

10. The Rum Diary

The Johnny Depp-starring adaptation of Hunter S Thompson's semi-autobiographical novel The Rum Diary (2011) didn't really work as a movie, but that didn't stop the title treatment on the first poster release becoming something Opasinski thinks transcends being a mere title.

"It's designed for grand-scale viewing, commanding the entire canvas with its presence and delivering the essence of the story to the audience with incredible impact," he says. "The artful blend of typography becomes a work of art that draws viewers into the narrative."

For more on logos, see our best logos of the 60s , 70s , 80s and 90s posts, as well as our piece on the history of logos .

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After growing up knowing he wanted to change the world, Drew realised it was easier to write about other people changing it instead. He has experience writing about everything from pop culture to technology and everything in between, and has been published in media both on and offline all over the world.

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Critics have panned Jerry Seinfeld's 'Unfrosted.' One called it 'one of the worst films of the decade.'

• Jerry Seinfeld's directorial debut, "Unfrosted," is out now on Netflix.
• Critics said that the movie is filled with gags but doesn't have a clear, interesting story.
• Some said only few moments in the movie are actually funny.

Jerry Seinfeld 's new movie "Unfrosted," about the creation of Pop-Tarts, has been flooded with negative reviews, leaving critics wondering why the comedy movie isn't very funny.

Seinfeld's directorial debut is framed as a comedic take on more serious brand biopics that have become popular in recent years, including movies such as " Air " and "Blackberry."

Instead of recreating real-life events, Seinfeld's film features bizarre, fictional moments.

Seinfeld recently stirred controversy after telling the New Yorker that TV comedy had been ruined by "the extreme left and PC crap, and people worrying so much about offending other people."

" Unfrosted " appears to respond to this, as many critics said the movie is filled with uninhibited jokes that overtake the story. But, according to them, there are a few moments in the film where the jokes land.

Here's what critics have said about "Unfrosted," which is streaming now on Netflix.

Some critics were positive and said the film had some truly funny moments.

"Unfrosted" currently has a Rotten Tomatoes Tomatometer score of 42% and an audience score of 53%.

Despite this, the film debuted with a rotten rating (to have a fresh score, more than 60% of the reviews need to be positive). Some critics did enjoy the film.

The Guardian 's film critic Peter Bradshaw said the film was "amiable and funny."

Meanwhile, The New York Times selected the movie as its Critic's Pick for the week. In its review, Amy Nicholson wrote, "The jokes spill forth so fast that there's no time for the shtick to get soggy."

However, most were not as nice.

One critic described it as "one of the worst films of the decade ."

The Chicago Sun-Times entertainment columnist Richard Roeper wrote that the film was "one of the worst films of the decade so far."

William Bibbiani, a critic for The Wrap , began his review: "Jerry Seinfeld's new comedy 'Unfrosted' is an impressive film. It's not a good film, and it's not a funny film, but if you watch the first three hours on Netflix and then pause it, you'll find that somehow only one hour has passed. And that is pretty impressive, in a boring way."

The Telegraph film critic Tim Robey described his viewing experience as "trapped in a writers' room full of stale air."

"When we reach minute 25, and not one joke has sparkled, you dream of escape," he said.

Critics said "Unfrosted" doesn't give any insight into the creation of Pop-Tarts.

If you are interested in the history of Pop-Tarts , this movie is not for you. Some critics have described the movie as "hollow," arguing that the story has nothing to say about Pop-Tarts, the cereal business, or even brand biopics.

Daily Beast critic Nick Schager wrote: "With no inspired perspective on its subject matter, the film proves a soggy attempt at deriving humor from a breakfast-wars premise that seems better fit for a five-minute Saturday Night Live sketch."

Ross Bonaime, Collider 's senior film editor, wrote, referring to "Seinfeld": "Maybe it shouldn't be surprising that the man who created a 'show about nothing' has also made a movie that feels as hollow as a Froot Loop. Seinfeld has made a directorial debut that ends up feeling like a bowl of sugary cereal: not a terrible thing to eat, but not as fulfilling or substantial as you might've hoped it would be."

Critics say the movie sacrifices the story for jokes that aren't good.

The one thing "Unfrosted" offers is jokes and gags and, according to critics, there's a lot of them.

Bonamine wrote that the bizarre storylines in the movie are used to drop more jokes and "an absurd amount of cameos" rather than telling an interesting story.

"It's as though Seinfeld and his team crafted the jokes they wanted to tell within this world, then created a flimsy story around it to collect them all," he wrote.

Bibbiani wrote: "There's a non-stop cavalcade of celebrity cameos which aren't funny because, for the most part, the whole joke is that they're celebrity cameos. The humor is thuddingly blunt, and the punchlines constantly call attention to themselves, which robs them of their punch."

Kate Stables wrote for GamesRadar : "The mad rush to see how many jokes, pastiches, and celebrity cameos it can pack in (there's a terrific Mad Man interlude) produces a periodically frantic feel, amped up by the many 60s hits on the soundtrack."

Critics say the tone of the movie is all over the place.

Many critics also said the movie failed to have a consistent tone because of the absurdity of the jokes.

Bonamine wrote that the cinematography sometimes made the movie look like a "candy-colored dream world," while other moments felt like a "single-camera sitcom."

The Times of London film critic Kevin Maher wrote: "The tone, however, is scattershot at best, and the film swings between madcap Willy Wonka-style fable and soft corporate satire."

Danny Leigh, a Financial Times critic, concluded his review that the movie feels like it was constructed for Seinfeld's own enjoyment.

"What strange mix of nostalgic boomers, under-12s, and Seinfeld completists is the target audience for a film that plays like a comedy for kids, but with running gags about Walter Cronkite's drinking?" he wrote. "Then you get the joke. It has been made for the only person on earth it could also have been made by: Jerry Seinfeld. He still can't act, and I'm really not sure he can direct either, but he has the gift of a true auteur for making a movie in his image."

"Unfrosted" is filled with cameos, but only a few standouts.

"Unfrosted" boasts a big cast of major names, including Jon Hamm, Hugh Grant, Melissa McCarthy , Bill Burr, Peter Dinklage, and Fred Armisen. However, only a few actors stand out.

Bibbiani said Grant , who stars as the man under the Tony the Tiger cereal mascot, "has the film's only consistently funny subplot."

Bradshaw wrote: "There are also nice supporting roles and cameos, including an extraordinary dual walk-on from Jon Hamm and John Slattery, recreating their ad exec Mad Men personae Don Draper and Roger Sterling."

Schagor wrote that one of the child actors, Eleanor Sweeney, "manages to one-up the film's cavalcade of stars" in one scene.

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Colman domingo pays tribute to the late chadwick boseman & andré leon talley with met gala look.

• ‘Unfrosted’ Review: Jerry Seinfeld Directs And Stars With A Comic Who’s Who Dishing Up A Hilarious Mad World Of Cereal Wars

By Pete Hammond

Pete Hammond

Awards Columnist/Chief Film Critic

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For years various producers have pitched doing something like a zany It’s A Mad Mad Mad Mad World , only populated by an epic cast of contemporary comedy stars just like that Stanley Kramer supercomedy did during its time in 1963. So it is probably not a coincidence that Jerry Seinfeld selected that very year in which to set his live action filmmaking debut, Unfrosted , as a quadruple threat of star, director, co-writer, producer.

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“Product movies” as they have come to be called were certainly plentiful in 2023 with BlackBerry, Tetris, The Beanie Bubble, Flamin’ Hot, Air, even the year’s number one film, Barbie. Seinfeld’s approach here is less product biopic, and more let’s throw it all against the wall and see what sticks. It is meant to be silly, good natured entertainment, at times broad comedy but refreshingly not overly broad since Seinfeld’s character, Kellogg’s executive Bob Cabana, is basically a straight man here for all the loonies surrounding him.

All this is just a set up for lots of gags and amusing characters who live in this world. There is the celebrity panel of tasters for instance that includes fitness guru Jack LaLanne (an energetic James Marsden), Chef Boy Ardee (Bobby Moynihan), bike legend Steve Schwinn (Jack McBrayer), ice cream giant Tom Carvel (Adrian Martinez), and the slippery Harold Van Braunhat (Thomas Lennon).

Along the way there are conferences with frustrated and perpetually ignored Isaiah Lamb aka the Quaker Oats guy (Andy Daly), even a General Mills. Hugh Grant hilariously turns up as snobbish British actor Thurl Ravenscroft (actually a real name) who is frustrated to be relegated to voicing and playing Tony The Tiger, Kellogg’s famous Frosted Flakes symbol. Also looking to get into all the action are Rice Crispies trio Snap (Kyle Mooney) Crackle (Mikey Day) and Pop (Drew Tarver). The neighborhood Friendly Farms milkman gets a close up here as well in the form of a kind of mysterious greek chorus led by Mike Diamond ( Christian Slater ) whose presence seems to suggest something unsavory is going on.

Icons of the period such as JFK (Bill Burr), Nikita Kruschev (Dean Norris), Walter Cronkite (Kyle Dunnigan), even Andy Warhol (Dan Levy) also pop in and out, as do a pair of ordinary kids – the audience all this is meant to entice – played fetchingly by newcomers Eleanor Sweeney and Bailey Sheetz.

The cast, largely comic stars, is in fact so large it is, like Mad World’s , almost impossible to list them all, but props to casting director Kristy Carlson for working with Seinfeld to get them all assembled. As for Seinfeld, of course best known for his standup and classic sitcom, this is the first time he has ever played a substantial lead in a live action film (he was a key voice and player in the animated Bee Movie) and he is basically just staying comfortable with his well-known persona, reminding me of what Bob Hope used to make seem so easy in his screen comedies, an anchor to all the zaniness. Zany is definitely the order of the day with lots of amusing bits everywhere, including a deliciously CGI’d Ravioli, and a de-aged circa-’63 Johnny Carson and Ed McMahon welcoming Seinfeld’s Bob as a guest on The Tonight Show.

Production-wise, Unfrosted looks great with especially fine work in setting the scene from Production Designer Clayton Hartley. and a sprightly score from Christophe Beck. Netflix has asked that one scene not be mentioned pre-opening and so we will comply and not spoil it, but suffice to say there are a couple of surprise cameos from a certain TV series that had the audience I saw it with roaring. This being a Netflix movie means most people will be watching at home, but Unfrosted is exactly the kind of comedy that practically begs to be seen theatrically in a full house. There is so much stuffed into this one viewing probably isn’t enough. Here’s hoping Jerry Seinfeld has some other good ideas percolating for movies.

Producers are Seinfeld, Feresten, and Beau Bauman.

Title: Unfrosted

Distributor: Netflix

Release Date: May 3, 2024 (Streaming)

Director: Jerry Seinfeld

Screenplay: Jerry Seinfeld, Spike Feresten, Andy Rubin, Barry Marder

Rating: PG13

Running Time: 1 hour and 33 minutes

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