This is the UK video poster for the release of the excellent 1985 action-drama Runaway Train (opens in a new tab). The film was produced by the notorious schlock-peddlers Cannon Films (opens in a new tab), which at the time was run by two Israeli cousins, the director Menahem Golan (opens in a new tab) and producer Yoram Globus (opens in a new tab). It’s often cited as one of the best films that Cannon Films ever produced, which makes sense when you look at their filmography (Breakin’ 2: Electric Boogaloo anyone?).

Rather improbably, the first version of the script was written by celebrated Japanese director Akira Kurosawa (opens in a new tab) and he was planning to direct it himself. When the financial backing fell through the script was shelved. It was later picked up and underwent re-writes to prepare it for the Russian director Andrey Konchalovskiy (opens in a new tab) who was a contemporary of Andrei Tarkovsky (and co-wrote Andrei Rublev with him). Konchalovskiy later went on to helm films such as Tango & Cash for US producers.

The film is set in remote Alaska and begins in a high-security prison. Oscar ‘Manny’ Manheim (a memorable turn from Jon Voight (opens in a new tab)) is a notorious bank robber who hatches an escape plan that involves the help of the skittish Buck McGeehy (Eric Roberts (opens in a new tab)). After smuggling Manny into the laundry room, the pair escape through the sewers and eventually find their way to a railroad. There they jump onboard a slowly moving locomotive and hide in one of the cars. Unbeknownst to them, the train driver suffers a heart attack whilst trying to stop the train and falls off it. The automatic train stop is not engaged and the runaway train begins its journey down the tracks. Also onboard is another railway worker called Sara (Rebecca De Mornay (opens in a new tab)) who realises quickly that they’re in a bad predicament. The rest of the film sees the trio attempting to bring the speeding train to a stop whilst being pursued by the sadistic prison warden Ranken (John P. Ryan (opens in a new tab)) and his men.

Runaway Train was a critical and commercial success in the US and abroad. It was also nominated for several awards – an unusual occurrence for a Cannon film (Jon Voight would win a Golden Globe for Best Actor). This video poster was for the 1986 release on MGM home video in the UK and features a unique design that is, I believe, exclusive to the poster. It’s a mixture of artwork and photograph. The trees, train and elements of the background are painted and Jon Voight’s image has also had some painting applied to it as well, strangely.

This screen print depicting the Marvel character Thor (opens in a new tab), as played by Chris Hemsworth, was created by the talented Uruguayan designer and artist Martin Ansin (opens in a new tab). It was commissioned by the limited edition poster outfit Mondo (opens in a new tab) as part of a series of prints that were released in preparation for the highly anticipated Marvel superhero team-up, The Avengers (opens in a new tab) (2012). A print was released for each of the seven main heroes featured in the first film. This included one for Captain America by the design outfit Phantom City Creative and one for The Hulk by Ken Taylor. This page on Collider.com (opens in a new tab) shows five of the posters and Beyond the Marquee has the other two (opens in a new tab). To finish of the series Mondo asked Tyler Stout to design a poster for the actual Avengers film itself. Read my interview with Tyler about his work on the print.

Not all of the characters that made the line-up for the first film were given a solo outing before The Avengers was released. The first Iron Man film that was released in 2008 set the template that others followed and made a tidy profit at the box office in doing so. A sequel followed two years later and then Thor’s solo outing was released in 2011 along with the first Captain America film. This then completed what is called Phase One in the Marvel Cinematic Universe (opens in a new tab). Phase Two began with Iron Man 3 in 2013.

Ansin’s work has graced many of the best posters released by Mondo, including several in the Universal Monsters series, like this amazing Phantom of the Opera one. This Thor poster was printed in a regular and variant version (opens in a new tab) with the variant having a grey/silver colour-way and glow-in-the-dark inks.

See the other posters I’ve collected by Ansin. His official website (opens in a new tab) is well worth a browse.

Timerider (opens in a new tab) is a largely forgotten genre mash-up from the early 1980s starring Fred Ward (opens in a new tab) (probably best known for Tremors). Directed, co-written and scored by William Dear (opens in a new tab), the film deals with the concept of time-travel and sees a cross country dirtbike champion accidentally sent back in time to 1877. Whilst competing in a race, Lyle Swann (Ward) rides through an area which is being used by scientists to try to send a monkey back in time. He’s unaware that he’s gone back in time over a century and doesn’t understand why the people he meets are terrified of him and his bike. Eventually he realises the situation but not before he’s being pursued by a gang of outlaws. He’s taken in by a woman called Claire (Belinda Bauer (opens in a new tab)) who hides his bike before seducing him. Meanwhile, the scientists in the future are desperately trying to retrieve Swann from 1877.

The films ends with quite a creepy payoff which I won’t spoil but made me exclaim ‘Eh?!’ at the screen. Think: what happens in the first Terminator but even weirder. The film is largely forgettable and features some truly terrible performances with mumbled dialogue making it hard to follow in parts. Fred Ward is good value, as always, and the head outlaw, played by Peter Coyote (opens in a new tab), is a decent enough villain.

I’m unsure who is responsible for the design or artwork on this US one sheet so if anyone has any ideas please get in touch.

This is the original Thai poster for the release of Superman II (opens in a new tab), the sequel to 1978’s Superman the Movie. The artwork is partially based on the international one sheet (opens in a new tab) painted by the American artist Dan Goozee. Goozee’s artwork also appeared on the Japanese B2 poster. My belief is that the Thai artist, Tongdee Panumas, repainted the original artwork and then added new items to the montage.

Superman II is infamous for its troubled production which saw original director Richard Donner (opens in a new tab) replaced part way through filming. The producers of the first film had decided to shoot the sequel at the same time. Donner had filmed multiple scenes, including those featuring Marlon Brando, but at a certain point a decision was made to pause filming the sequel to get the first film out of the door. Once Superman the Movie was released into cinemas, the production team returned to finish off the sequel. In the interim period, the producers had been sued by Brando for a slice of the first film’s profits so his filmed scenes were excised from the sequel.

Richard Lester (opens in a new tab), who was originally brought on as an uncredited line producer on the first film, was chosen to replace Donner. The latter had fallen out with the producer Pierre Spengler (opens in a new tab) whilst filming the first movie and soon discovered that he wasn’t to be invited back to complete the sequel. Lester ended up refilming many of the scenes that Donner had completed but quite a lot of the latter’s work survived in the final cut, including scenes with Gene Hackman who was unable to return for the reshoots. Composer John Williams also had a scheduling conflict but he recommended Ken Thorne, a friend and fellow composer, to the production team.

The fairly simple storyline sees the villains teased at the start of the first film, Kryptonians General Zod (a memorable performance by Terence Stamp (opens in a new tab)) and his two accomplices, escape from the Phantom Zone and descend to earth. There they cause havoc and eventually break into the White House, holding the president hostage. Meanwhile, Clark Kent and Lois Lane are on holiday cementing their romantic relationship. Lois has become convinced that her boyfriend is in fact Superman in disguise. Lex Luthor has also managed to escape from prison and agrees a tentative deal with the Zod that he will help them find Superman in exchange for him being given Australia to rule. The stage is set for a showdown between the four Kryptonians at the Fortress of Solitude.

Despite the behind the scenes woes, the film is actually a very strong sequel and was critically acclaimed on release. The box-office receipts were also very healthy and led to an inevitable sequel 3 years later (it was even teased at the start of the credits for part II).

Tongdee’s artwork features several key scenes from the film and I particularly love the floating Superman head in the bottom right. Note that there’s a Trebor advert on the left side and this is common for Thai posters of the era. I believe that companies paid to have their brand associated with a film’s release (as is common practice today) and these logos would often make it onto the poster. Pepsi is one brand logo that often appears on Thai posters.

Tongdee was an incredibly prolific film poster artist during the 70s, 80s and 90s. I’ve been unable to find out much about him, other than that he was born in 1947, so if anyone has any more details please get in touch.

This British quad for Ken Russell (opens in a new tab)‘s 1986 horror film Gothic (opens in a new tab) features artwork by Paul Dufficey. From what I can gather the artist was a long-time collaborator with the late director and had worked on four of his previous films, including Tommy. It appears from his IMDb profile (opens in a new tab) that he worked as a production and set designer and for Gothic he created ‘portraits’, which presumably included the work on this posters.

Russell’s film was written by Stephen Volk (opens in a new tab) and is a fictionalised retelling of the visit by Percy Shelley (Julian Sands (opens in a new tab)) and his later wife Mary (Natasha Richardson (opens in a new tab) in her first film role) to the Swiss villa of Lord Byron (Gabriel Byrne (opens in a new tab)). There they also meet Byron’s friend, the physician Dr. John Polidori (Timothy Spall (opens in a new tab)) One evening, whilst a storm rages outside, the group tell each other horror stories and reveal intimate secrets about themselves. This meeting was apparently the inspiration for Mary Shelley to write Frankenstein (opens in a new tab) and for Polidori to pen The Vampyre (opens in a new tab), both of which were groundbreaking novels in the horror genre.

The images on this poster are clearly inspired by classic gothic artwork, particularly the woman splayed across a bed. This references a painting called The Nightmare (opens in a new tab) by the Anglo-Swiss artist Henry Fuseli which was painted in 1781. It depicts a creepy imp sitting on top of a sleeping woman and this same imagery features in Gothic. The imp is played by Kiran Shah (opens in a new tab), a dwarf actor and stuntman who has featured in several blockbusters such as Raiders of the Lost Ark and was a stuntman on all three of the Hobbit films.

Apparently the film was not much of a success at the box office but was popular on home video. I’m certain it has something to do with the distributor using a creepy photo of Shah on top of a woman, which must have enticed a fair few punters to rent the film. I doubt it met the expectations of all out horror that the cover suggested for many though!

Unique artwork features on this Japanese B2 for the release of the fifth entry in the much-loved horror franchise, A Nightmare on Elm Street 5 (opens in a new tab). The film’s subtitle ‘the Dream Child’ hints at the plot for the film, which sees Freddy attempting to return from hell by using the mind of an unborn baby. The child belongs to Alice (Lisa Wilcox (opens in a new tab)) who was the main character in the previous film and the father is her boyfriend Dan (Danny Hassel (opens in a new tab)) who also returns from Part 4. The Dream Child was only the second film directed by Stephen Hopkins (opens in a new tab), the Jamaican-born English-Australian director best known for helming Predator 2 and the 1998 reboot of Lost in Space.

Set a year after the previous film, the story sees Alice and her friends graduating from high school with Freddy Krueger seemingly vanquished for good. Alice begins to have strange dreams in which she finds herself in the asylum where Freddy’s mother, a nun named Amanda, was attacked and raped by the inmates. Later she has another dream in which she witnesses Amanda giving birth to a strange, deformed baby. The creature scuttles off and ends up in the church where Alice vanquished Freddy in Part 4 whereupon it grows into an adult Krueger. He immediately begins to taunt Alice, claiming he has found a way to return for good. When she wakes from the dream she immediately summons Dan to her but he falls asleep at the wheel of his motorbike and Freddy attacks and, during a gruesome sequence, melds him together with the bike before crashing him into a truck. Soon afterwards she learns that she is pregnant with Dan’s child and immediately begins to fear for its safety.

Alice and her friends must once again battle together with the spirit of Amanda Krueger to stop Freddy before he is able to return and take over the mind of Alice’s unborn son (Jacob). To be honest, the film gets very confusing and it’s hard to follow what’s happening most of the time, never mind how an unborn baby suddenly becomes a ten-year-old child in some of the sequences. The usual dream deaths are pretty dark and there are some gruesome moments for horror hounds, but the story barely hangs together, with choppy editing and hammy acting not helping at all. Although not a box-office disaster, the film failed to take anywhere near the box-office of Part 3 and 4 and audiences were certainly cooling towards the franchise by this point.

This artwork is a modified take on the photographic image of Freddy with the pram seen on the German A1 poster (opens in a new tab). I’m not sure who was responsible for the painting so if anyone has any ideas please get in touch. The small illustrated figure in the bottom right is actually from the alternate style Japanese B2 poster, which I also have in the collection.