An appropriately lurid design on this UK quad for the release of infamous independent studio Troma Entertainment’s Class of Nuke ‘Em High. The film was directed by Richard W. Haines and Troma co-founder Lloyd Kaufman (under the pseudonym Samuel Weil) and the story centres on the Tromaville High School in New Jersey, which is located close to a dodgy nuclear power-plant that continuously suffers leaks of hazardous material. The Cretins are the school’s anarchic gang (who feature heavily on this poster) and are responsible for peddling drugs to the other pupils. When they inadvertently buy a marijuana plant that has been contaminated by nuclear waste things start to get very messy indeed. Of particular note is the parasitic offspring birthed by Chrissy (Janelle Brady) under the influence of the toxic weed, which mutates into the spiky monstrosity seen at the top of this poster.

Criticising a Troma production is a bit like tearing down a school production; this is amateur entertainment at best, with acting that is hilariously awful across the board, choppy editing and a total lack of atmosphere. With that being said, if you go in expecting the usual Troma mixing-pot of gore, guns, girls and explosions you won’t leave too disappointed. Some of the effects are actually well-realised on what I can only assume was a minuscule budget.

The montage on this quad was designed and painted by one of my favourite British artists Brian Bysouth, whose wonderfully detailed illustrations featured on hundreds of posters over three decades. Some of his most famous posters include the withdrawn one sheet for A View to a Kill, Highlander, Big Trouble in Little China and The Living Daylights. In 2012 I was lucky enough to meet and interview Brian and the resultant article can be read by clicking here.

Released by the infamous American production and distribution company Troma, The Toxic Avenger went on to become their most successful film, spawning numerous sequels and spinoffs. He’s now featured as their official mascot.

This poster features artwork by Sid Blaize and is one of two one sheets printed for the film. The other one looks like this (image taken from emovieposter.com).

The superb original trailer can be viewed on YouTube.

Released by the infamous American production and distribution company Troma, The Toxic Avenger was something of a box-office failure on its first release, but subsequent long-running shows on the midnight movie circuit at the Bleecker Street Cinemas in New York City helped to cement its current reputation as a cult classic. The film would go on to become Troma Studios’ most successful film, spawning numerous sequels, spinoffs and even a stage musical. The Toxic Avenger himself even features as their official mascot and this original entry is seen as the film that ‘built the house of Troma’.

Melvin Junko (Mark Torgl) is a social misfit working at the Tromaville Health Club as a down-trodden mop boy who is often at the receiving end of the cruel pranks of a pair of bullies called Bozo (Gary Schneider) and Slug (Robert Prichard) and their girlfriends. One day whilst being chased through the club Melvin jumps out of a second story window and lands in a vat of toxic waste, which burns his skin and completely disfigures him. After running home and jumping in a bath to try and wash the waste off he finds himself mutating into a creature of superhuman strength. The rest of the film sees Melvin fighting crime in Tromaville as the Toxic Avenger, menacing the corrupt mayor Peter Belgoody (Pat Ryan).

The artwork on this British quad is, as far as I’m aware, unique to the poster. I’ve been unable to discover who the artist responsible is so if you have any ideas please get in touch.

The superb original trailer can be viewed on YouTube.

A classic case of the poster being better than the film it’s advertising, this is the UK quad for the 1972 British sexploitation horror Virgin Witch, which was produced and released by Tigon, primarily known for their horror output. Directed by Ray Austin who spent most of his career directing TV shows, the film stars Ann Michelle and her sister Vicki (later to gain fame as Yvette Carte-Blanche in the TV series Allo ‘Allo!) as Betty and Christine, a pair of wannabe models.

Answering an advert in a shop window, the more confident Betty meets Sybil Waite, a lecherous modelling scout played by the late Patricia Haines (the first wife of Michael Caine), who invites her to a country manor on the pretense of being photographed for an advertising campaign. Sybil encourages Betty to invite Christine along and after arriving there the sisters soon discover that all is not as it seems on the outside. Before long, Betty is being inducted to a witches coven in a laughable sequence in which the coven’s leader Gerald (Neil Hallett) gets to have his way with her.

Later it appears that Christine is to be sacrificed in another ceremony but the script is so weak that it’s not clear why and the attempt at a shock ending falls totally flat. The story comes a distant second to the almost constant female nudity, clearly a requisite from producers keen to sell the film to as many international buyers looking to satisfy the punters of ‘adult’ cinemas. Virgin Witch is totally devoid of anything in the way of supernatural scares, or indeed horror of any kind, and any attempt is fumbled badly. Both leading ladies have apparently disowned the film since it was made and it’s not hard to see why!

This poster is the result of a collaboration between two key figures in the history of British poster design: Fred Atkins and Arnaldo Putzu. Atkins was born in Kent in 1928 and attended art school before joining an agency on Sloane Street in London as a junior. He moved around a few agencies before joining Pulford Publicity in 1951 where he designed multiple quad posters, staying with Eric Pulford through several mergers and acquisitions, eventually leaving what became Downtons in 1968 to help set up the FEREF agency (he’s one of the Fs in the name) from where he would eventually retire. Virgin Witch is one of the posters he designed whilst at FEREF.

Arnaldo Putzu was born in Rome in 1927 and began painting from a very early age and in 1948 he got involved with the world of film publicity under the guidance of the famous artist Enrico De Seta. Eventually Putzu would gain enough confidence in his abilities to set up his own agency and it was this move that saw him getting involved in work for the British studio Rank. Eric Pulford was so impressed with his work that he brought him over to London to work at Downtons in 1967.

The artist worked on many quads whilst over here and also gained notoriety for lending his talents to the popular children’s magazine Look-in, for which he painted almost every cover during its publication lifetime. His best-known quad is undoubtedly the one he painted for the Michael Caine gangster classic Get Carter in 1971. My friend, and author of the must-own British Film Posters, Sim Branaghan met Putzu during the making of his book and describes it as a very memorable experience in the interview I published in 2012. Putzu sadly passed away the same year, aged 85, and Sim wrote an excellent obituary for The Guardian newspaper, which can be read here.

The Great Northfield Minnesota Raid is a 1972 Western, written and directed by the American director Philip Kaufman. The film was Kaufman’s first commercial film following the two independent pictures he had directed in the 1960s. He is perhaps best known for the 1983 film The Right Stuff, based on the lives of the first test pilots involved in the race for space during the 1950s. This film is roughly based on the escapades of the real-life outlaws, the James-Younger Gang, who were active during the latter half of the 19th Century.

The film focuses on one of the gang’s most famous escapades which was the robbery of the bank known as ‘the biggest west of the Mississippi’ in the titular town of Northfield, Minnesota. The late actor Cliff Robertson appears as Cole Younger and Robert Duvall stars as Jesse James. That same year Duvall appeared in one of his most famous roles as Tom Hagen in The Godfather, and also starred alongside Clint Eastwood in the western Joe Kidd. The botched raid on the bank would have tragic consequences for most of the gang and eventually saw Cole Younger captured. Jesse James and one other man escaped but he was later infamously killed by a member of his own gang (brilliantly depicted in the 2007 film The Assassination of Jesse James by the Coward Robert Ford).

I’m unsure who is responsible for the artwork on this US 30×40 poster, which also features on the US one sheet and insert posters. If anyone has any ideas please get in touch.

The Wicker Man is a true British classic and even though it started life as a low-budget b-feature the film has lost none of its power since its release forty years ago this year. Based on a script by celebrated screenwriter Anthony Shaffer, who had previously seen great success with the play Sleuth (1970), The Wicker Man was helmed by first time director Robin Hardy and was filmed on location around Scotland, with several coastal settings chosen to stand-in for the fictional island of Summerisle. It’s unfair to call the film a horror as it’s a mix of murder-mystery with occult undertones and features an unforgettable finale that lingers in the mind for a long time after the credits roll.

Edward Woodward stars as Sergeant Howie, a strait-laced policeman sent from the Scottish mainland to to investigate the mysterious disappearance of a local girl. After encountering indifference and hostility from the inhabitants, Howie decides to investigate the islands’ de facto leader Lord Summerisle (A memorable Christopher Lee) and soon discovers that this charismatic figure’s influence and beliefs hold sway over the population. The policeman realises too late that he has been brought to the island for reasons more sinister than the supposed disappearance of a local girl, and things are about to get very heated indeed for the unlucky Sergeant Howie.

This screen print was created by the British designer and illustrator Richard Wells (AKA Slippery Jack) in a traditional woodcut style that perfectly suits the film. Wells first debuted the artwork digitally in 2013 to mark the film’s 40th anniversary and then the following year he collaborated with Under the Floorboards to release a screen print of it in both regular and variant editions (the variant is on a different, brighter type of paper). There are so many great details to the print and I spot new ones each time I look at it. In 2013 Wells worked on a similar style print for Ben Wheatley’s A Field in England that was originally only given to cast and crew members but was later made available to the public in early 2015.

Check out Richard Wells’ portfolio site here and his DeviantArt gallery here.

Who Framed Roger Rabbit, the memorable mix of live-action and animation, is a true 80s classic and a milestone film in several ways. Although not the first time that the two mediums had been mixed, no film had attempted it on this scale before and it was the first time that iconic Warner Bros and Disney characters (Bugs Bunny, Mickey Mouse etc) had featured in the same film together. Based on Gary K. Wolf‘s 1981 novel Who Censored Roger Rabbit?, the rights were bought by the then president of the Walt Disney Company but it would be almost 7 years before filming began, during which time the project went through several creative teams. Eventually Amblin Entertainment were approached to be involved and this meant the project had the creative clout of Steven Spielberg behind it, and his presence was instrumental in getting several studios to agree to have their characters appear.

The story is set in a version of 1940s Hollywood in which human and cartoon actors exist together in the same reality, with the ‘toons’ mostly living in a section known as Toontown. The late Bob Hoskins appears as the washed-up private detective Eddie Valiant who has worked in Hollywood for years and, for reasons revealed during the film, has a loathing for toons. One day he is approached by the chaotic, slapstick-loving Roger Rabbit (voiced by Charles Fleischer) and asked to help prove his innocence after Marvin Acme, the owner of Acme Corporation and Toontown, is murdered and all fingers point to Roger. Rumours that Roger’s wife, the voluptuous Jessica Rabbit (an uncredited performance from Kathleen Turner), had been playing ‘pattycake’ with Acme don’t help and Eddie sets out to prove Roger’s innocence before the psychotic Judge Doom (a memorable performance from Christopher Lloyd) catches him and executes him via deadly ‘dip’.

This one sheet was created by a company called Kilian (owned by Jeff Kilian) and printed around the time of the film’s release for sale to collectors and fans of the film. The company was mostly active during the 1980s and early 90s and worked with film studios and production companies to produce officially licensed alternative posters and limited-edition prints (LAMP features more information about them). They produced several for Roger Rabbit, including two printed on gold mylar (glossy plastic), of which this is the style D version. The other styles can be seen in emovieposter.com’s auction history.

Emovieposter also note that this particular print of style D was actually done in error and there are two versions of it out there:

Also note that this is the ultra-rare “red dress” variant of the Style D poster! These posters were sent as a sample to Disney (who insisted that the dress be changed to pink) and less than 100 were printed!

‘Underwater’ is simply but effectively conveyed using a single block of colour on this American one sheet for Richard Ayoade’s excellent British indie film, Submarine. It was the debut directorial effort from Ayoade, who was best known for his appearances on multiple British TV comedy shows, including The Mighty Boosh and The IT Crowd. The film is a coming-of-age comedy-drama featuring breakout performances by its two young leads, Craig Roberts and Yasmin Paige. Roberts plays Oliver Tate, a precocious and neurotic teenager who struggles to cope with life at home and school but when the sultry Jordana takes interest in him (initially as an act of revenge against another boy) Oliver’s world is turned upside down.

Not only must Oliver deal with swirling feelings of romance, excitement and anguish but his parents (played by Sally Hawkins and Noah Taylor) are also struggling with their relationship, particularly when one of his mother’s old flames, a brilliantly nutty new-age guru played by Paddy Considine, moves back in next door. The film wears its influences proudly on its sleeve and the cinema of the French New Wave clearly informed many Submarine’s quirkier scenes, whilst Oliver’s neurosis calls to mind vintage Woody Allen. The film is set in Swansea and Ayoade and his cinematographer Erik Wilson make excellent use of locations, whilst the soundtrack is absolutely perfect and features several tracks from Arctic Monkeys’ frontman Alex Turner. If you’re yet to see the film I highly recommend tracking it down.

I’m unsure who is responsible for this poster and if you look at the closeups you’ll notice that the image of Oliver appears to have actually been illustrated. I had assumed it was simply a photograph but if anyone knows anything more about who put this together I’d appreciate it if you’d get in touch.

The trailer is on YouTube.

Featuring the same artwork from the US one sheet, this is the Japanese B1 poster for one of the funniest films of all time, Airplane! The film was the creation of the celebrated writers Jerry Zucker, Jim Abrahams, and David Zucker (collectively known as ZAZ) who had garnered critical acclaim for their small theatre productions as the Kentucky Fried Theatre, which they formed in 1971. The idea for the film was arrived at after the trio saw the 1957 disaster movie Zero Hour! and realised it had the perfect structure to be adapted into a comedy film. A script was written and completed in 1975 but the trio had little experience in filmmaking so it was shelved for a while as they pulled together a script based on their theatre sketches. This was filmed and released as The Kentucky Fried Movie in 1978, directed by John Landis. Ultimately it gave them the necessary experience to feel confident enough to direct Airplane!

As well as riffing on Zero Hour!, the film is a send-up of disaster movies of the seventies such as Airplane (1975) and takes place on board a stricken passenger jet. Robert Hays stars as Ted Striker, an ex-Navy pilot who was traumatised during the War and has a pathological fear of flying. Desperate to win back his ex-girlfriend Elaine Dickinson (Julie Hagerty) Striker follows her onto a Trans American flight from Los Angeles to Chicago on which she is working as a flight attendant. Determined to speak to Elaine, he makes several attempts to get her attention but nothing works until food poisoning strikes both passengers and crew. Attention falls on Striker as the aircrafts best hope for survival and he must overcome his psychological aversion to sitting behind the controls.

In Airplane! the jokes come thick and fast and are both spoken and visual (sight gags). Several actors were playing against type, notably Lloyd Bridges, Robert Stack and Leslie Nielsen. The latter’s career was to skyrocket following this film with starring roles in the ZAZ TV show Police Squad! as well as the trilogy of films based on the series, Naked Gun. Airplane! was both a critical and commercial success and would go on to earn over $83m on a $3.5m budget. It cemented ZAZ’s reputation as reliable comedy writers and directors and, as well as Police Squad! and Naked Gun, the 1980s and early 1990s saw the release of Top Secret!, Ruthless People and Hot Shots! (1 & Deux). Airplane! was also both multi-award winning and hugely influential on budding comedy performers and directors.

The artwork of the twisted plane featured on posters for the film across the world and was painted by the celebrated artist, filmmaker and author Robert Grossman. Born in New York City in 1940, he received his earliest training from his father who was a display painter. He would go on to study at Yale University and graduated with a BA in Fine Arts in 1961. Two years later Grossman began a freelance career that would see him working for the next 50 years. His work has appeared over 500 times on the covers of various national publications such as Time, Newsweek, Rolling Stone and Esquire. In addition to magazine and newspapers, his illustrations have also graced children’s books and record sleeves for the likes of Columbia and Warner Bros. The Airplane! illustration is one of his most famous pieces of work. As far as I can tell Grossman only worked on a painting for two other film posters during his career, both of which can be seen here. His official website is here and a gallery of his work can be seen here.

Arguably Jack Nicholson‘s finest performance (not an easy choice when there are films like Chinatown), One Flew Over the Cuckoo’s Nest is one of only three films that have won all five major Academy Awards (Best Picture, Actor in Lead Role, Actress in Lead Role, Director, and Screenplay), with the others being It Happened One Night (1934) and The Silence of the Lambs (1991). Based on the 1962 novel of the same name by Ken Kesey, the film focuses on goings on inside Oregon State Mental Hospital, which is where the book is set and, fortuitously, production was able to take place.

Nicholson plays Randall McMurphy a lifelong petty criminal who is sent to the mental hospital for evaluation after he fakes insanity in order to try and avoid a prison sentence in a traditional jail. After adjusting to life among genuinely disturbed characters including Billy Bibbit (Brad Dourif) and Martini (Danny DeVito) and Taber (Christopher Lloyd) he starts to lead a small rebellion agains the authorities in the hospital and gains a cult status amongst the patients. But McMurphy hasn’t reckoned on the determination of the cruel Nurse Ratched (an unforgettable Louise Fletcher) who realises how much of a threat he is to life at the hospital and the tension between them escalates until a shocking ending that hasn’t lost it’s power 40 years on.

The film was a huge box-office and critical success with the Academy Awards being only some of the many accolades the film would garner. The film has been oft parodied in the years since with several elements of the story entering the cultural lexicon, such as uncompromising authoritarian figures often being referred to as being Ratched-like.

I’m unsure who’s responsible for the design of this poster so if anyone has any ideas please get in touch.

Italian director Franco Prosperi is best known as the co-creator of the infamous Mondo Cane ‘shockumentary’, which consisted of a series of travelogue-style vignettes looking at strange cultural practices from around the world with the intention of shocking Western audiences. Made in 1962, the film had an emphasis on taboo subjects including sex, death, ritual killings and cannibalism, and it was such a success that it spawned a slew of sequels and copycat films, and created it’s own mondo genre of exploitation films. Despite being presented as genuine documentary footage, many of the scenes in mondo movies were clearly staged by the producers.

One recurring aspect of the genre was animal deaths and cruelty, and Prosperi continued this theme when he directed Wild Beasts, a 1984 horror set in an unnamed European city (actually Frankfurt in Germany). The film sees PHP inadvertently being released into the water supply for the local zoo and the crazed animals wreaking havoc on the city. Some of the carnage sees an elephant trampling a car (and the heads of the occupants), a guide-dog turning on his blind owner and rats devouring a series of unlucky victims. Working with animal handlers Prosperi used editing to achieve most of the attack scenes but unfortunately the film does feature moments of actual animal cruelty, including the live torching of the aforementioned rats. Because of these scenes I don’t believe the film was ever given a cinema release in the UK, although it appears to now be available here via import DVD.

This is the poster for the Japanese release of the film and it features brilliantly exaggerated scenes of carnage, overselling the sequences from the film. The artist appears to be someone called Kazumi Akutsu according to the signature featured on the side of the speeding train, although it could be that I have one of the letters wrong in the surname. I’ve been unable to find out anything about the artist so please get in touch if you have any ideas. I’d strongly advise you not to perform a google image search for the name with safe search off!

The original Italian trailer is on YouTube.