One of the best films of the 1980s and certainly one of the Austrian Oak‘s finest roles, Predator is a film I’ve seen more times than I care to remember. Directed by John McTiernan, who would go on to helm Die Hard the following year (arguably the greatest action movie ever made), the film is an excellent mix of gung-ho action and sci-fi horror with a truly iconic monster that has gone on to appear in several (not so great) sequels and spin-offs.

The story sees Schwarzenegger’s team of single-monikered, rough-neck commandos dropped into a dangerous South-American jungle ostensibly on a rescue mission. When they discover a series of butchered and skinned corpses it soon becomes clear that they’re dealing with more than just a bunch of gun-toting guerrillas and someone, or something, is following them through the jungle. The film features several memorable characters, including Native American Sonny Landham‘s Billy, a man-mountain with much-needed tracking skills and the first one to realise they’re not alone, and Bill Duke‘s Mac who memorably leads the charge with a mini-gun when one of his comrades is killed. Like many of Schwarzenegger’s films, Predator is eminently quotable and features countless memorable lines spoken by several of the characters – ‘If it bleeds, we can kill it!’

This quad was put together by a team at the FEREF design agency, including Stephen Laws, Frank Hillary and artist Brian Bysouth. This was one of the first posters by the artist to have been created with photo composition and not painted, as had been the case with his previous posters. In fact, his iconic painting for The Living Daylights was done the same year as this one. In 2012 I published an interview with Brian and the article can be read in full by clicking here. The other posters I’ve collected by him can be seen by clicking here.

This is the German A1 poster for the release of Joe Dante’s 1987 sci-fi comedy Innerspace, in which Dennis Quaid plays the brilliantly named Tuck Pendleton, a loudmouth test pilot who is shrunken to miniature size as part of an experiment and then accidentally injected into the body of hypochondriac Jack Putter (Martin Short) during a robbery at a science lab. Madcap high-jinks ensue and the films nods heavily in the direction of the classic sci-fi film Fantastic Voyage. The film is definitely one of the high points in the myriad of high-concept films of the 1980s and I rate it as one of Joe Dante’s best films.

The poster was designed and painted by one of my favourite artists, Renato Casaro, an Italian with a prolific movie poster output that lasted over 35 years. He began his career in 1953, aged 19, at the famous Studio Favalli in Rome and would go on to design and paint posters for many of the biggest directors in the world. His skill at accurately portraying actors and his brilliant use of colour and composition saw him much in demand from studios and actors alike.

His artwork has featured on posters used in multiple countries, including Japan, Germany, USA as well as in his native Italy. Check out the incredible amount of work on his official website here, which also features a biography of the artist.

In March 2014 I published an exclusive interview with Renato and it can be read by clicking here. This artwork was also used for the UK video release cover and accompanying poster. To see the other posters I have collected for Innerspace click here. The other posters I’ve collected by Renato Casaro are here.

An iconic image on this one sheet for the release of Oliver Stone‘s Academy Award-winning Vietnam war classic, Platoon, one of a three films that the director made on the subject (the others being Born on the Fourth of July and Heaven & Earth). The script, which was written by Stone, is based on his own experiences as an infantryman who served in tours of duty during the Vietnam war. He had signed up in 1967 after dropping out of Yale University and specifically requested to see combat in the war that had seen the first ground troops sent to the country two years earlier. Stone served in two different divisions for over a year and was wounded twice,  receiving several medals, including a Purple Heart.

The film follows Charlie Sheen‘s army grunt Chris Taylor (a proxy for Stone) who is serving as part of Bravo Company, 25th Infantry Division near the Cambodian Border. Taylor is fresh into the field and is treated with disdain by the more experienced soldiers (an incredible ensemble of acting talent, including Willem Dafoe, Tom Berenger, Keith David and Forest Whitaker) who have all been in country for months, and he is quickly made aware that his presence is inconsequential. After a few skirmishes in which some members of the division are killed, Taylor is eventually accepted into the group and discovers the grinding boredom and rampant drug use amongst his fellow soldiers. Tensions between two sergeants, the ill-tempered, battle-scarred Barnes (Berenger) and the pleasant, more reasonable Elias (Dafoe) reach breaking point following an incident involving innocent villagers. Upon returning to base, the issue of a court-martial for illegal killing is raised and when the division is sent out on their next patrol, things reach boiling point, leaving Taylor fighting to survive against the enemy as well as members of his own team.

One of the best films of the 1980s and certainly one of the Austrian Oak‘s finest roles, Predator is a film I’ve seen more times than I care to remember. Directed by John McTiernan, who would go on to helm Die Hard the following year (arguably the greatest action movie ever made), the film is an excellent mix of gung-ho action and sci-fi horror with a truly iconic monster that has gone on to appear in several (not so great) sequels and spin-offs.

The story sees Schwarzenegger’s team of single-monikered, rough-neck commandos dropped into a dangerous South-American jungle ostensibly on a rescue mission. When they discover a series of butchered and skinned corpses it soon becomes clear that they’re dealing with more than just a bunch of gun-toting guerrillas and someone, or something, is following them through the jungle. The film features several memorable characters, including Native American Sonny Landham‘s Billy, a man-mountain with much-needed tracking skills and the first one to realise they’re not alone, and Bill Duke‘s Mac who memorably leads the charge with a mini-gun when one of his comrades is killed. Like many of Schwarzenegger’s films, Predator is eminently quotable and features countless memorable lines spoken by several of the characters – ‘If it bleeds, we can kill it!’

This is the scarce international one sheet that was likely to have been printed in the USA for use in English-speaking international markets. I’m unsure who is responsible for the design but it does feature the same photo of Arnie that features on the UK quad that was put together at the London design agency FEREF.

Director Joe Dante‘s Piranha was one of several killer nature films that followed in the wake of the runaway success of Spielberg’s Jaws. Executive produced by legendary schlockmeister Roger Corman and co-written by John Sayles (his first credit and before he began his directing career) the film was also one of the first jobs for special effects maestros Rob Bottin and Phil Tippett. The film begins as a young couple hiking enter an apparently abandoned military complex and jump into what looks like a swimming pool, but something deadly lurks below the water and the pair soon disappear screaming under the surface. Maggie McKeown (Heather Menzies), an insurance investigator, is dispatched to try and track down the teenagers and hires local drunkard Paul Grogan (Bradford Dillman) to help her.

The pair stumble across the complex and end up draining the pool to see if there’s anything at the bottom. When they do a bedraggled man appears from somewhere in the complex and attacks them to try and stop the pool being emptied. Grogan subdues him and the man proceeds to tell them that the water contained genetically-modified oversized killer piranha fish that were intended to be used against the enemy in the Vietnam war. The drainage pipe leads to a river and Lost River Lake, which is home to a children’s summer camp and a holiday resort. The trio set off to try and warn the camp and resort inhabitants but the fish have already made good progress and evidence of their deadly nature is discovered on the journey to Lost River Lake.

Produced on a reported budget of $600k, the film is certainly no classic but is entertaining enough, featured plenty of shocks to keep audiences happy and rake in a significant profit for Corman’s New World Pictures. Universal Studios, the Jaws production company, were all set to sue New World until Spielberg saw the film and gave it his blessing.

This Japanese B2 features artwork by the American artist Bob Larkin (born 1949) who is primarily known for his work on Marvel comics covers, including Savage Sword of Conan and Planet of the Apes. He also worked on covers for other comics distributors, magazines and packaging for toys. Larkin painted a handful of other film posters, including Monster (AKA Humanoids from the Deep) and Piranha II: The Spawning. The Bob Larkin: Illustrated Man site features a load of examples of his work, including many original paintings.

This is the original Thai poster for the release of Oliver Stone‘s Academy Award-winning Vietnam war classic, Platoon, one of a three films that the director made on the subject (the others being Born on the Fourth of July and Heaven & Earth). The script, which was written by Stone, is based on his own experiences as an infantryman who served in tours of duty during the Vietnam war. He had signed up in 1967 after dropping out of Yale University and specifically requested to see combat in the war that had seen the first ground troops sent to the country two years earlier. Stone served in two different divisions for over a year and was wounded twice,  receiving several medals, including a Purple Heart.

The film follows Charlie Sheen‘s army grunt Chris Taylor (a proxy for Stone) who is serving as part of Bravo Company, 25th Infantry Division near the Cambodian Border. Taylor is fresh into the field and is treated with disdain by the more experienced soldiers (an incredible ensemble of acting talent, including Willem Dafoe, Tom Berenger, Keith David and Forest Whitaker) who have all been in country for months, and he is quickly made aware that his presence is inconsequential. After a few skirmishes in which some members of the division are killed, Taylor is eventually accepted into the group and discovers the grinding boredom and rampant drug use amongst his fellow soldiers. Tensions between two sergeants, the ill-tempered, battle-scarred Barnes (Berenger) and the pleasant, more reasonable Elias (Dafoe) reach breaking point following an incident involving innocent villagers. Upon returning to base, the issue of a court-martial for illegal killing is raised and when the division is sent out on their next patrol, things reach boiling point, leaving Taylor fighting to survive against the enemy as well as members of his own team.

An iconic image on this one sheet for the release of Oliver Stone‘s Academy Award-winning Vietnam war classic, Platoon, one of a three films that the director made on the subject (the others being Born on the Fourth of July and Heaven & Earth). The script, which was written by Stone, is based on his own experiences as an infantryman who served in tours of duty during the Vietnam war. He had signed up in 1967 after dropping out of Yale University and specifically requested to see combat in the war that had seen the first ground troops sent to the country two years earlier. Stone served in two different divisions for over a year and was wounded twice,  receiving several medals, including a Purple Heart.

The film follows Charlie Sheen‘s army grunt Chris Taylor (a proxy for Stone) who is serving as part of Bravo Company, 25th Infantry Division near the Cambodian Border. Taylor is fresh into the field and is treated with disdain by the more experienced soldiers (an incredible ensemble of acting talent, including Willem Dafoe, Tom Berenger, Keith David and Forest Whitaker) who have all been in country for months, and he is quickly made aware that his presence is inconsequential. After a few skirmishes in which some members of the division are killed, Taylor is eventually accepted into the group and discovers the grinding boredom and rampant drug use amongst his fellow soldiers. Tensions between two sergeants, the ill-tempered, battle-scarred Barnes (Berenger) and the pleasant, more reasonable Elias (Dafoe) reach breaking point following an incident involving innocent villagers. Upon returning to base, the issue of a court-martial for illegal killing is raised and when the division is sent out on their next patrol, things reach boiling point, leaving Taylor fighting to survive against the enemy as well as members of his own team.

This one sheet features a shot from a pivotal scene in the film where Elias is left behind during an evacuation to escape from advancing Vietcong troops. The shot was used on most posters for the film’s release across the board, but not on the US one sheet. This poster is in fact a one sheet printed for use in English-speaking international countries (note the lack of MPAA rating). It most commonly appears without the white border and measuring 25″ x 39″ but this is the full-size 27″ x 41″ bordered version.

I had always assumed the image was a photograph but I only recently discovered it’s the work of the American artist Mike Bryan who also painted the fantastic and iconic Robocop one sheet. Heritage auction house sold the original paintings for both posters in March 2014 and included with each was a note from Bryan himself. The platoon one can be read here.

One of two werewolf themed horrors to be released in 1981, Joe Dante‘s The Howling beat John Landis’ An American Werewolf in London to cinemas by a few months, but both would go on to be cult classics of the genre, even if the latter film won more critical plaudits at the time of its release. Despite hugely different storylines each film features a memorable werewolf transformation scene and The Howling’s one was created by noted practical effects specialist Rob Bottin (The Thing, Robocop), which was his first solo effort away from his mentor Rick Baker. Although he had initially started work on The Howling, Baker had decided to leave the production to work on Landis’ film and handed the reigns over to Bottin. The results are definitely impressive and were certainly groundbreaking for the time, however Baker’s handiwork on AWIL is unforgettable and impressed the judges of the Academy Awards so much that he won the Outstanding Achievement in Makeup in its inaugural year.

Very loosely based on the novel of the same name by Gary Brandner, The Howling’s script was worked on by two screenwriters before Dante brought in John Sayles, with whom he collaborated on 1978’s Piranha to write a third draft. The film begins as the investigative TV report Karen White (Dee Wallace) is on her way to meet the serial murderer Eddie Quist (Robert Picardo) at a sleazy LA porn store as part of a police sting operation. After entering a booth, Karen is surprised by Eddie who is standing behind her and forces her to watch a porno of a young woman being attacked. Karen turns to look at Eddie and her screams attract nearby police officers who shoot and apparently kill him. Severely traumatised by the event and suffering from hallucinatory flashbacks, Karen’s therapist Dr Waggner (Patrick Macnee) refers her to a secluded retreat on the Californian coast called The Colony.

Karen travels there with her boyfriend Bill played by the late Christopher Stone, who was Dee Wallace’s boyfriend at the time and later married her (Stone sadly passed away from a heart attack in 1995), and the pair are welcomed by the residents of the camp, which is made up of several log cabins in a forest near the coast. One night Bill is out for a walk and is attacked and bitten by a werewolf, which is actually Marsha Quist (Elisabeth Brooks) a sultry nymphomaniac who has been at the Colony for months. Later she accosts Bill and the pair make love in the forest as they transform into werewolves together. Karen suspects all is not right and invites her friend Teri (Belinda Balaski), another reporter who is looking into Eddie Quist and has discovered that his body is missing from the morgue, out to visit her. Soon after arriving Teri is attacked and killed by Eddie whom she watches transform into a wolf (with Rob Bottin’s help) and before long Karen discovers the true secret of the Colony. Teri’s partner Chris (Dennis Dugan) comes to Karen’s rescue clutching a rifle loaded with silver bullets.

The film was made on a low budget (circa $1m) and was a commercial success around the globe, making tens of millions of dollars. It inevitably spawned a number of significantly less interesting sequels, starting with 1985’s ‘Howling II: Your Sister is a Werewolf’. Joe Dante believes that Steven Spielberg saw the film at the cinema and subsequently offered him the directorial job on the cult classic Gremlins (1984).

Despite The Howling’s relatively high profile I’ve been unable to identify the artist responsible for the artwork on this US one sheet, which was also used as the marketing art in several other countries. If anyone has any ideas please get in touch. Note that this particular poster is discoloured somewhat as it is meant to be more orange/yellow in tone, and I believe it’s the result of an error during printing. It’s not the first one sheet for the Howling that I’ve seen with this discolouration and at least three can be seen in emovieposter’s past sales history of the poster. I suspect that a batch of the posters fell victim to an issue with blue/green inks at the time of printing.

A typically detailed and action-packed illustration by Brian Byouth on this 1976 re-release poster for the 1960 Disney adaptation of the 1812 novel The Swiss Robinson by Johann David Wyss. The story had already been filmed once by RKO pictures in 1940 and was a commercial success so another adaptation was considered a sure bet. Filmed on location in Tobago as well as at Pinewood studios in the UK, the film was directed by the late British director Ken Annakin who worked with Disney on a number of pictures. Legendary Brit actor John Mills plays the father of a family that is shipwrecked on a remote tropical island whilst en-route to New Guinea and the film deals with their adventures as they make a new home and try to cope with marauding pirates who are roaming the waters around the island and are causing havoc for ships that enter its waters.

The film differs significantly from the novel and the changes are detailed on the Wikiepdia page for the film. Happily for all involved it was well received by critics and audiences and went on to be the highest earning film of 1960 (beating Hitchcock’s Psycho and Kubrick’s Spartacus). Adjusted for inflation the film made over $427 million which makes it one of the biggest hits of all time. 

British artist Brian Bysouth worked on many Disney posters during the 1970s and early 1980s, including several for re-releases of earlier films from the 1950s and 60s like this one. Brian is one of my favourite artists and worked on many classic posters from the 1960s to the 1980s, including the final painted poster for a James Bond film, The Living Daylights. In 2012 I was fortunate to meet and interview Brian for this site and the article can be read here. The other posters I’ve collected by Brian can be seen by clicking here.

This is the UK quad for the release of actor/director/model/musician Vincent Gallo and was the first full-length feature film he directed. The film has an impressive cast with Gallo starring alongside Christina Ricci and supporting turns from the likes of Ben Gazzara, Mickey Rourke and Anjelica Huston. Gallo plays Billy Brown who has just been released from prison after serving a five year sentence for a crime he didn’t commit. On the way to visit his parents, who actually think he’s a successful (and married) businessman after he wrote them fictional letters from jail, he comes across a young tap-dancer called Layla (Ricci) and decides to kidnap her and force her to pretend to be his wife. Layla is clearly attracted to Billy and goes along with his plans but his own inner demons wrestle for his attention.

The film was well-reviewed on release and was a reasonable box-office success. It has since turned into a true cult film with many fans across the globe who are attracted to the offbeat romance between Billy and Layla, as well as the interesting way the film was shot by cinematographer Lance Acord. A gentle reminder that for a cool $1,000,000 you can actually purchase the main man’s little swimmers, should you want to birth the next generation Gallo, whilst $50,000 will net you a night with him (ladies only).

This quad, featuring a unique design, was put together by the British firm Empire Design who have been working on posters and other film marketing material for 18 years, including for the James Bond films since Casino Royale (2006). To see the other posters that were designed by Empire in the Film on Paper collection click here.

This is the Polish B1 poster for the release (in 1989) of Joe Dante’s 1987 sci-fi comedy Innerspace, in which Dennis Quaid plays the brilliantly named Tuck Pendleton, a loudmouth test pilot who is shrunken to miniature size as part of an experiment and then accidentally injected into the body of hypochondriac Jack Putter (Martin Short) during a robbery at a science lab. Madcap high-jinks ensue and the films nods heavily in the direction of the classic sci-fi film Fantastic Voyage. The film is definitely one of the high points in the myriad of high-concept films of the 1980s and I rate it as one of Joe Dante’s best films.

This poster was designed and illustrated by Andrzej Pagowski, a prolific film poster artist who was born in Warsaw in 1953 and studied at the celebrated University of Fine Arts in Poznań, graduating in 1978 under the tutorship of the noted artist Waldemar Świerzy. In 1990 he started his own graphic design studio called Studio P, which he developed into an advertising agency by 1993. According to the biography on his official site, Pagowski has illustrated over 1000 posters during his career and has also done work for books, magazines and music covers. In addition, he is also a TV and theatre stage designer and a screen writer. Undoubtedly a man of many talents! His official site features an extensive gallery of his work, including several of the posters. Polishposter.com also features multiple pages worth of his movie posters and this culture.pl article is well worth a read too.

This is the original poster for the Thai release of the classic British gangster film The Long Good Friday, starring the late, great Bob Hoskins. The story focuses on Harold Shand (Hoskins), an underworld kingpin whose grand plans to develop the London Docklands, with the backing of the American Mafia, start to go awry when a series of bombs kill his associates and undermine his credibility. Harold needs to discover who is behind the killings and exact revenge before the deal is lost.

The film is notable for its use of real London locations and it’s a thrill to watch the film now and see how much of the capital has changed. It was only made 33 years ago but the city is barely recognisable compared to today.

The film had a fairly tumultuous time getting into cinemas and was saved from being cut to shreds and offloaded as a TV special after its original production company (ITC) weren’t happy with the results. Helen Mirren was friends with Eric Idle who saw the film and recommended it to George Harrison who had just started up Handmade Films. Harrison saw commercial potential and was able to purchase the rights for less than the original production cost. The film went on to be a solid success for Handmade.

There is a signature on this artwork, which is unique to the Thai poster, that apparently belongs to the artist Kwow. I’ve been able to discover very little about him so please get in touch if you have any details about him.

The original trailer can be viewed on YouTube.

A striking illustration by Wieslaw Walkuski on this B1 poster for the first release in Poland (in 1990) for Alan Parker‘s 1988 crime thriller Mississippi Burning. The film was loosely based on the real life case of the murders of three civil rights workers in the titular American state in 1964. Screenwriter Chris Gerolmo based his script on an article and several books on the FBI investigation of the case that had been written in the intervening years. Gene Hackman and Willem Dafoe play two FBI agents sent to the fictional town of Jessup County in order to investigate the disappearance of the three workers. Their investigation is met with suspicion and hostility by local residents, as well as the local police and the KKK. As attacks on African-American families intensify, the pair must use unorthodox methods to get to the bottom of the mystery.

Wieslaw Walkuski was born in 1956 and studied at the Academy of Fine Arts in Warsaw. Since 1981 Walkuski has worked as a graphic designer and artist for publishing houses and theaters, as well as for the Polish film organisations Polfilm and Film Polski. He’s worked freelance since 1987 and has painted over 200 film posters. He continues to live and work in Warsaw. Walkuski’s official website features galleries of many of his designs and images of his other work.

He’s responsible for some incredible designs and two of my favourites include those he painted for Lars Von Trier’s Breaking the Waves and the Dustin Hoffman comedy Tootsie.

An unusual illustration with a stylised half-finished look features on this US one sheet for the release of the 1973 film Shamus. It was directed by the late Buzz Kulik who spent the majority of his career directing TV shows and TV movies, including several episodes of The Twilight Zone. The film stars Burt Reynolds who had entered a golden period following his breakout performance in the 1972 film Deliverance. For the rest of the 1970s he would star in two or three films a year, cementing his reputation as a rugged action star and cheeky good ol’ boy, with films like Smokey and the Bandit, as well as an off-screen sex symbol (thanks to things like the infamous magazine centrefold image of him lying on a rug).

Set in New York, Reynolds stars as the titular Shamus McCoy, a hard-living private detective who enjoys drinking, gambling and womanising, but is in need of a new case to top up his bank account. One day he’s approached by an eccentric diamond dealer who’s had a stash of diamonds stolen and Shamus is offered $10k to track them down. What seems like a straightforward case turns out to be nothing of the sort and the PI is thwarted at every opportunity, with a beating by a gang of thugs making him realise he’s onto something big. Shamus teams up with his friend Springy as well as Alexis Montaigne (Dyan Cannon), the sister of a nightclub owner who’s involved in the plot. The gang uncover illegal arms dealing activities and are soon confronted by the deadly intentions of the improbably named, corrupt army Colonel Hardcore (John P. Ryan).

I’ve struggled to identify who is responsible for the artwork so if anyone has any ideas please get in touch. Unusually it features both a smaller illustration and a retouched photographic image. Typically posters from around this period might feature a main photographic image with supporting illustrations (see the Cleopatra Jones poster for example).

Earlier this year I commissioned (through a mutual friend) the legendary Thai artist Tongdee to reimagine a poster for one of my favourite films, Predator (1987). The film was released in Thailand at a time when the use of painted artwork was being phased out and the original Thai poster is a photographic design that was based on the US one sheet. I’m a huge fan of Thai film poster artwork because of the typically lurid use of colours and lack of censoring, which led to some incredible posters like Tongdee’s Apocalypse Now and the one for Lucio Fulci’s The Beyond.

Because the original photographic poster was comparatively disappointing, I was excited to see what Tongdee would create. I gave him free reign with the exception of a couple of things I was keen to see (the iconic thermal-vision being one) and after a few weeks was sent a sketch with his idea for the layout. After requesting a couple of very minor tweaks I gave the go ahead and Tongdee began working on the actual painting. Last week I received the finished article and I’m very happy with the result. I love the layout and the use of colours, including the incorporation of the thermal-vision Predator hand. I also love the artistic licence he took on a few elements (I’ll let you figure out what I’m talking about) which was typical of his paintings from the original period of him working on film posters.

The painting is just over American one sheet size and I plan to get it framed as soon as possible. I’ve tried to take as many pictures as possible so you can see the details, and you’ll be able to see the grain from the canvas onto which Tongdee painted. I’ve also included three pictures that I was sent showing the painting with Tongdee in his studio. There’s also one photo (fourth from last) which shows the painting as it was sent to me, having been removed from the wooden frame over which it was stretched for painting.

Tongdee Panumas (he signs his posters with just his first name) was incredibly prolific during the 70s, 80s and 90s and, although he no longer paints official film posters for Thai distributors he is still painting for other clients. I’ve been unable to find out much about him from a biographical point of view other than that he was born in 1947. My hope is to someday travel to Thailand to meet and interview him.

One of the best films of the 1980s and certainly one of the Austrian Oak‘s finest roles, Predator is a film I’ve seen more times than I care to remember. Directed by John McTiernan, who would go on to helm Die Hard the following year (arguably the greatest action movie ever made), the film is an excellent mix of gung-ho action and sci-fi horror with a truly iconic monster that has gone on to appear in several (not so great) sequels and spin-offs.

The story sees Schwarzenegger’s team of single-monikered, rough-neck commandos dropped into a dangerous South-American jungle ostensibly on a rescue mission. When they discover a series of butchered and skinned corpses it soon becomes clear that they’re dealing with more than just a bunch of gun-toting guerrillas and someone, or something, is following them through the jungle. The film features several memorable characters, including Native American Sonny Landham‘s Billy, a man-mountain with much-needed tracking skills and the first one to realise they’re not alone, and Bill Duke‘s Mac who memorably leads the charge with a mini-gun when one of his comrades is killed. Like many of Schwarzenegger’s films, Predator is eminently quotable and features countless memorable lines spoken by several of the characters – ‘If it bleeds, we can kill it!’

To see the other Thai posters I’ve collected click here.