The brutal, brilliant ‘revenge’ drama Hard Candy is the film that put Ellen Page firmly on the map. Patrick Wilson is also excellent and perfectly conveys the terror that would fill any bloke faced with ‘that’ situation. The Japanese B2 features a still from the infamous scene.

This one sheet by Art Machine perfectly captures the mood of the film and is one of my favourite film posters of the last decade.

You can watch the trailer on Youtube.

Alejandro Jodorowsky’s legendary cult opus was given a limited re-release in Japan last year and this is the poster promoting it. There’s not much point in talking about the film itself other than to say you’re in for a treat if you haven’t seen it. To say it’s a unique experience would be an understatement and, although it’s certainly not for everyone, it’s a film that all self-respecting film fan should add to their ‘to watch’ pile. This bit of trivia on Wikipedia gives you an inkling of what you’re in for:

The Beatles member George Harrison was intended to play the main character but he withdrew when read in the script he had to wash his anus in front of the camera.

Both this and Jodorowsky’s El Topo were released on blu-ray earlier this year. Here’s the original US trailer.

A superb design on this 30×40 poster for the US release of the excellent Australian thriller Road Games. The film’s director Richard Franklin was born in Melbourne but went on to study at the acclaimed film school at the University of Southern California, alongside future filmmakers such as George Lucas, Robert Zemeckis and John Carpenter. Franklin returned to Australia at the beginning of the 1970s when the country’s film industry was in resurgence and began directing, first on the TV police drama ‘Homicide’ and then helming a pair of soft-core porn features. In 1978 he directed Patrick, a horror film featuring a man in a coma wreaking havoc using telekinetic powers, which was a pivotal moment in Franklin’s career as it ultimately led to him being entrusted with the budget for Road Games, at the time Australia’s most expensive feature film.

Scripted by Everett De Roche, an Australian screenwriter who was a frequent collaborator with Franklin, the film was funded in part by Avco Embassy, the American independent studio and distributor, who paid $500k for all rights outside of Australia. Franklin apparently originally wanted to hire Sean Connery in the lead role but when salary demands ruled this out the production went with the prolific American character actor Stacy Keach, who is excellent in the role of Quid, a cross-country truck driver who features in practically every scene in the film. Whilst driving his cargo of meat across the country Quid becomes convinced that a man driving a green panelvan is a serial killer who has been butchering young women in various towns across Australia. Jamie Lee Curtis features, in what is essentially an extended cameo, as a hitchhiker who Quid picks up and quickly becomes embroiled in his plans to apprehend the suspect. The film is well paced and features several tense sequences and a moments of Mad Max-esque automobile carnage (the boat!).

In this 2002 interview with Franklin the director complains that the US distributors sold the film as a Psycho-esque slasher, which he feels hurt its box-office performance. This artwork certainly backs up that claim, despite the early guitar string murder happening almost exactly as its depicted on this poster. The film is certainly more of a paranoid thriller than a true horror but it’s easy to see why the distributors wished to sell it as as such.

With thanks to a visitor to the site named Rudiger (see comment below), the artist was confirmed in 2023 as the late Joann Daley, an American who lived and worked in Los Angeles. Joann (as she signed her artwork) passed away in 2005 but before then she worked on several classic film posters, including one for David Cronenberg’s Scanners and the superb one for George A. Romero’s Creepshow. This poster was painted to a design by her husband James Costello.

The same image has been used several times since the original cinema release on VHS and DVD covers. The Australian poster is markedly different.

It’s hard to believe that it’s celebrating its 20th anniversary this year but The Nightmare Before Christmas has lost none of its magic and is a film that I could happily re-watch year after year. The combination of Tim Burton‘s storytelling and character design, with Henry Selick‘s direction and Danny Elfman‘s brilliant songs (and voice) make for one of the best animated films ever made. The story has its origins from the time when Tim Burton was working at Disney as an animator and had just completed the short film Vincent in 1982. After writing a short poem with the same title, Burton played around the idea of adapting it as a television special and a book, but eventually Disney agreed to help him produce it as a short film. 

After meeting Selick, a fellow animator at the same studio, he came close to realising his original vision before development stalled, apparently after Disney felt the project was ‘too weird’. Several years passed which saw Burton strike box-office gold with Beetlejuice and Batman, before he discovered that Disney still owned the rights to the film. He and Selick committed to the idea of developing the project into a feature length animation and because of commitments to directing Batman Returns (1992) it was agreed that the latter would direct.

Utilising 20 sound stages and 120 animators, Selick set about bringing to life the story of Jack Skellington, the Pumpkin King, and organiser of Halloweentown’s annual party. Fed up of the same routine year after year, Jack is walking in the forest and discovers a series of doors leading to other holiday-based worlds. Upon entering the Christmas door Jack is enchanted by everything he sees and vows to take on the role of Santa for the next Christmas day. Each member of Halloweentown is given a task to prepare for the big event, but their penchant for all things ghoulish isn’t compatible with the jollity of Christmas and Jack’s dream is in danger of unravelling completely.

The quality of the stop-motion animation and character design is first-rate and Elfman’s songs are unforgettably great. The Nightmare Before Christmas has a legion of fans and a 3D re-release occurred in 2006 which further increased its popularity, and a seemingly endless stream of merchandise has been released over the past two decades.

This is the illustration style British quad that was printed for the original release of the film and there is also another quad which I’ve dubbed the photo style (photo in the sense that it’s a posed still from the film) and that can be seen here. I’m unsure who’s responsible for this artwork so please get in touch if you have an idea.

It’s hard to believe that it’s celebrating its 20th anniversary this year but The Nightmare Before Christmas has lost none of its magic and is a film that I could happily re-watch year after year. The combination of Tim Burton‘s storytelling and character design, with Henry Selick‘s direction and Danny Elfman‘s brilliant songs (and voice) make for one of the best animated films ever made. The story has its origins from the time when Tim Burton was working at Disney as an animator and had just completed the short film Vincent in 1982. After writing a short poem with the same title, Burton played around the idea of adapting it as a television special and a book, but eventually Disney agreed to help him produce it as a short film. 

After meeting Selick, a fellow animator at the same studio, he came close to realising his original vision before development stalled, apparently after Disney felt the project was ‘too weird’. Several years passed which saw Burton strike box-office gold with Beetlejuice and Batman, before he discovered that Disney still owned the rights to the film. He and Selick committed to the idea of developing the project into a feature length animation and because of commitments to directing Batman Returns (1992) it was agreed that the latter would direct.

Utilising 20 sound stages and 120 animators, Selick set about bringing to life the story of Jack Skellington, the Pumpkin King, and organiser of Halloweentown’s annual party. Fed up of the same routine year after year, Jack is walking in the forest and discovers a series of doors leading to other holiday-based worlds. Upon entering the Christmas door Jack is enchanted by everything he sees and vows to take on the role of Santa for the next Christmas day. Each member of Halloweentown is given a task to prepare for the big event, but their penchant for all things ghoulish isn’t compatible with the jollity of Christmas and Jack’s dream is in danger of unravelling completely.

The quality of the stop-motion animation and character design is first-rate and Elfman’s songs are unforgettably great. The Nightmare Before Christmas has a legion of fans and a 3D re-release occurred in 2006 which further increased its popularity, and a seemingly endless stream of merchandise has been released over the past two decades.

This is the photo style (photo in the sense that it’s a posed still from the film) British quad that was printed for the original release of the film and there is also another quad which features an illustration and that can be seen here. This design is effectively the landscape format version of the US one sheet.