This is the Japanese B2 poster for the release of the little-seen 1969 biker film ‘Run, Angel, Run!‘ It’s one of a slew of films based around the same theme that involved the actor and director Jack Starrett, who is best known for playing the antagonistic deputy in First Blood, and as the director of Cleopatra Jones and Race With the Devil. Starrett starred in films like Hells Angels on Wheels and Angels from Hell before being offered the chance to helm this as his directorial debut.

The film stars the prolific American actor William Smith as Angel, the leader of a biker gang. The plot is described thusly on IMDb:

Angel, a member of a tough motorcycle gang roaming the Southwest, gets on offer from a major news magazine. In exchange for giving the magazine a big scoop by exposing the inner workings of his gang, the magazine will pay him $10,000. Angel takes the offer, although it means he and his girlfriend must now go on the run from cyclists looking for revenge. Along the way, they hide out with a sheep farmer, earning their keep by taking care of the farm and building a new life together.

The film appears to be fairly scarce going by the lack of reviews online and the fact that the DVD is almost $40 on Amazon.com at the time of writing.

The trailer is available to view on YouTube.

Excellent artwork on this 30×40 poster for the 1974 entry into the blaxploitation genre, Black Samson. The film was directed by Charles Bail, who also had a career as an actor and starred in several TV series throughout the 1960s, including The Big Valley and Batman (as a henchman). He was also a prolific stuntman and stunt coordinator, lending his talents to such films as The Green Berets and Freebie and the Bean. This film was his directorial debut but he went on to work on another blaxploitation caper, Cleopatra Jones and the Casino of Gold (1975) and the road race comedy The Gumball Rally (1976).

The plot follows nightclub owner Samson (the brilliantly named Rockne Tarkington), who keeps his neighbourhood clear of drugs and crime, face up against a mob gang led by Johnny Nappa (William Smith) who are trying to muscle in on his territory. Carol Speed (The Mack) stars as Samson’s love interest, alongside his pet lion and gigantic bashing stick!

I’m unsure who is responsible for the artwork on this poster so please get in touch if you have an idea.

The original trailer is on YouTube.

Sweet Jesus Preacher Man is apparently a lesser entry into the 1970s blaxploitation genre and it appears to have been largely forgotten with no DVD release forthcoming. Director Henning Schellerup is perhaps better known as a camera operator and cinematographer, having worked on such films as Death Race 2000, A Nightmare on Elm Street and Silent Night, Deadly Night.

Roger E. Mosley (Tom Selleck’s partner in Magnum P.I.) stars as a hit man who who poses as a baptist preacher in order to take over the vice rackets in an L.A. ghetto. After his boss Martelli (character actor William Smith) double-crosses him he sets out on a rampage of revenge leaving bodies in his wake.

I’m unsure who is responsible for the artwork on this American 30×40 poster so please get in touch if you have an idea. You’ll notice that a large sticker with the credits on it has been applied over what is clearly the original credits block. This was likely done shortly after the posters were printed to correct an error without having to scrap the whole batch and print them again.

The original trailer is on YouTube.

A stark design by Jakub Erol on this poster for the Polish release of Paul Verhoeven‘s sci-fi masterpiece, Robocop. Set in a dystopian future Detroit where organised crime is rampant and the city is close to financial ruin, the mega-corporation Omni Consumer Products enters into an agreement with the city to run the police force and plans to introduce a robotic enforcer to work alongside the human officers. When tests with a weaponised droid called ED-209 go awry and an OCP junior executive is killed, the chairman agrees to back the plans of Bob Morton (Miguel Ferrer), another OCP executive with designs for a cyborg (half-man, half-machine) cop.

Shortly after, veteran officer Alex Murphy (Peter Weller) is brutally attacked and effectively killed on his first patrol at a new precinct and Morton sees him as the perfect candidate for his Robocop program. OCP quickly goes about transforming his ravaged body into the future of law enforcement, but when he reawakens Murphy initially struggles with his transformation and loss of his family. Soon he sets about avenging his ‘death’ at the hands of crime boss Clarence Bodicker (an unforgettable performance from Kurtwood Smith) and attacks the corruption that is destroying Detroit, which leads all the way to the boardroom of OCP.

This poster uses a shot of Robocop that is similar to the pose seen on the iconic American one sheet, which was set up specifically for that poster. ‘Superglina’ literally translates as ‘Supercop’, with glina (clay) being a Polish slang term for police officer. I asked a Polish friend about the origins of the term and there are a few theories, including the fact that the badges that Polish police used to wear were made from a clay material, plus the common adage that when you were in trouble ‘the police would stick to you like clay’.

The designer and artist Jakub Erol was born in Zamość in 1941 and graduated from the Warsaw Academy of Fine Arts in 1968. He worked as a prolific poster artist for over 25 years and designed several iconic images for both Polish and American films. Some of his other poster highlights include the bizarre image he conjured up for Ridley Scott’s Alien, a striking design for James Cameron’s The Terminator and the excellent poster for Raiders of the Lost Ark.

The Polishposter.com website features many of his designs, several which are for sale, and the Polish cinemaposter.com website also features three pages of his work. This list of his designs on the same website gives you an idea of how prolific an artist he was.

Not Quite Hollywood is an excellent, raucous documentary looking at the Ozploitation genre of films – the low budget horror, action and comedies packed full of sex, violence and swearing that were made following the introduction of the adult ‘R’ rating by Australian censors in 1971. Featuring just about every surviving filmmaker and actor, the film intercuts new and archive interviews with footage from a huge list of titles that were made during the roughly 15 year period that the genre flourished. Writer/director Mark Hartley has a clear abiding love of the genre and wants to treat the viewer to as many clips and details as possible – you certainly won’t be bored watching this documentary.

Featuring films such as the action/horror Road Games, the dystopian horror Turkey Shoot, the telekinetic coma patient on rampage flick Patrick and the post-apocalyptic action classic Mad Max, it also has interviews with fans of the genre such as director Quentin Tarantino who admits to becoming obsessed with several of the films in the genre. He is interviewed both alone and alongside his friend the Anglo-Australian director Brian Trenchard-Smith (BMX Bandits, Dead End Drive-In) and these sections are particularly entertaining. I guarantee that you’ll come away from watching the documentary with a list of films to check out as soon as possible – I know I did!

This poster, which features several images from the original posters of the films, was put together by Marcus Cobbledick who is the ‘Theatrical Art Director’ at the film’s distributor Madman Entertainment. He is interviewed about his job in this article and mentions this particular poster:

‘Not Quite Hollywood was a special title as I was involved in the project before pre-production and worked many hours on the film itself. We had access to thousands of wonderful production stills and vintage posters from the archives so we were spoilt for choice when selecting images for the poster montage.’

Mark Hartley was interviewed on the (now defunct Media & Culture Australia) site and mentions that Cobbledick also had a hand in the opening title sequence for the film:

‘I had collected, over the years, so much poster art, and we had amassed an amazing amount of stills when we were doing the research. I said to [our graphic designer] Marcus Cobbledick: We just need to keep a real 70s feel, because all the poster art was so great. It’s a lost art. So I wanted everything to have that sort of sensibility to it, and he ran with it. He was getting briefs that no-one really gets: We need to get a photo of such-and-such, and then vomit on her’

Bonus points if you can name each film featured on this poster!

Diamonds are Forever is the seventh film in the long-running James Bond franchise and was the last official (EON productions) film to star arguably the greatest actor who played the spy, Sean Connery. After appearing in On Her Majesty’s Secret Service actor George Lazenby decided to leave the franchise, apparently on the advice of his agent, and the producers considered a few other actors before the then head of United Artists (David Picker) declared that he wanted Connery back and money was no object. The Scottish actor, who had previously declared he would never return to the role, demanded an unprecedented fee of £1.25m (equivalent to £23 million in 2013) and was also granted backing to produce two other films of his choice. After both sides agreed to the deal the casting was announced and Connery then donated his fee to set up the Scottish International Education Trust, which allowed artists from the country to apply for funding without having to leave Scotland.

The story starts out with Bond apparently killing his arch-enemy Ernst Stavro Blofeld in revenge for the death of his new bride at the end of the previous film. The spy is then sent to investigate the mysterious murders of diamond smugglers and the theft of thousands of the precious stones. After following the trail from Amsterdam to Las Vegas, picking up a partner in smuggler Tiffany Case (Jill St. John) along the way, Bond discovers that two quirky assassins called Mr Wint and Mr Kidd (played memorably by Bruce Glover and Putter Smith) have been killing other smugglers across the world and are stockpiling diamonds for a mysterious benefactor. When Bond tracks the diamonds to their destination in a remote desert facility, he discovers that his arch enemy Blofeld is still alive and is using the diamonds to create a space laser capable of destroying targets on earth. The super spy sets out to stop the maniac’s plans and prevent him from holding the world to ransom with his new weapon.

This Japanese B2 features a montage that is unique to the poster and it includes images of Tiffany Case (on the left) and Trina Parks as the inept assassin Thumper (partnered in the film with ‘Bambi’) who is notable as being the first African-American actress to appear in a Bond film. There is also a small part of the artwork from the American one sheet that was painted by Robert McGinnis.

This is the American one sheet for Weird Science, the bonkers 1980s comedy from the late, great director John Hughes. Producer Joel Silver bought the rights to a 1950s EC Comics magazine of the same name and Hughes wrote the screenplay himself. Anthony Michael Hall, a regular colaborator with the director (he appeared in Breakfast Club the same year as Weird Science) stars alongside Ilan Mitchell-Smith as Gary and Wyatt, a pair of high-school nerds who are struggling to be accepted by their peers.

One evening the pair decide to try and create their perfect woman, inspired by a viewing of the classic Frankenstein film and using their computer coding skills. Following a series of improbable incidents, including a lightning strike and the pair’s successful hacking into a government mainframe computer (classic 80s nonsense), the gorgeous Lisa (an unforgettable appearance by Kelly LeBrock) steps out of their bathroom and asks “So, what would you little maniacs like to do first?” The rest of the film sees Lisa using various supernatural skills, including memory manipulation and reality warping to help the boys lose their inhibitions and gain the friendship of their school peers. The film features several madcap sequences, including the moment a bunch of psychotic bikers led by Vernon Wells (of Mad Max 2 fame) crash a house party, and Bill Paxton appears in a memorable turn as Wyatt’s brother Chet.

This one sheet was art directed by the American designer and artist Tom Jung who is perhaps most famous for his work on the posters for Star Wars and The Empire Strikes Back but has been working on film advertising for over 50 years, as well as storyboarding for a number of films. The artwork (Lisa’s body appears to have been painted, and the title too) was apparently done by an artist and designer called Duane Meltzer who worked at Universal Studios at the time of the film’s release. According to the about page on his official website he also worked as a creative at Twentieth Century Fox studios before forming POV Entertainment Design in 1988. He has continued to work on key art for films, as well as home entertainment packaging and more since then.

A striking design by Martin Ansin on this screen print for Paul Verhoeven‘s sci-fi masterpiece, Robocop. Set in a dystopian future Detroit where organised crime is rampant and the city is close to financial ruin, the mega-corporation Omni Consumer Products enters into an agreement with the city to run the police force and plans to introduce a robotic enforcer to work alongside the human officers. When tests with a weaponised droid called ED-209 go awry and an OCP junior executive is killed, the chairman agrees to back the plans of Bob Morton (Miguel Ferrer), another OCP executive with designs for a cyborg (half-man, half-machine) cop.

Shortly after, veteran officer Alex Murphy (Peter Weller) is brutally attacked and effectively killed on his first patrol at a new precinct and Morton sees him as the perfect candidate for his Robocop program. OCP quickly goes about transforming his ravaged body into the future of law enforcement, but when he reawakens Murphy initially struggles with his transformation and loss of his family. Soon he sets about avenging his ‘death’ at the hands of crime boss Clarence Bodicker (an unforgettable performance from Kurtwood Smith) and attacks the corruption that is destroying Detroit, which leads all the way to the boardroom of OCP.

This print was one of several created by Martin Ansin for a joint show with fellow artist Kevin Tong held at the Mondo Austin gallery during March 2014. Tong also worked on a print for Robocop and other films covered included Flash Gordon and Alien. Badass Digest (now Birth Movies Death) went to the show and interviewed Ansin and Tong, which can be read here and Collider.com ran an article featuring loads of images from the show. There was a variant of this print available that was printed with metallic inks and has a different colour scheme, see here.

One of my favourite artists working today, Martin 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 print and an excellent Dracula (1931) one. You only have to look at the gallery on his official site to see how talented an artist he is, with an eye for composition and detail unmatched by most of the artists in Mondo’s roster. To see the other posters I’ve collected so far that were designed by Ansin, click here.

This is the UK quad for the release of Irish director Neil Jordan‘s (The Crying Game) 1988 comedy High Spirits. Filmed on location and in a studio in Ireland, the story was written by Jordan and focuses on an old, run-down castle/hotel that is home to the Plunkett family, which only consists of Peter (Peter O’Toole) and his mother (Liz Smith) and a motley group of staff. Peter owes money to an American financier and is struggling to work out how to stop the castle defaulting into his hands. After half-heartedly attempting to hang himself, he hits on the idea of selling the hotel as the most haunted in Ireland after his mother reminds him about all the ghosts that supposedly haunt the place. Following a montage of the staff setting up various haunting gags around the castle, the first group of all-American guests arrive at the castle.

Jack Crawford (Steve Guttenberg) is joined by his wife Sharon (Beverly D’Angelo, best known for National Lampoon’s Vacation films) and it’s clear that their marriage is under some strain. Also there is a sceptical paranormal investigator and his family, plus a wannabe priest on a ‘final hurrah’ and a kooky dancer (Jennifer Tilly). The staff soon stage several attempts at convincing the guests that they are surrounded by ghosts but all fall flat. Jack, despondent with how unimpressed his wife is, stumbles into an old area of the castle whilst drunk and witnesses the apparition of two real ghosts, Mary Plunkett Brogan (Daryl Hannah) and Martin Brogan (Liam Neeson). The husband and wife have been stuck in a loop, enacting the moment that Martin fatally stabbed Mary in a fit of jealous rage. Somehow Jack interrupts the ghostly murder and Mary is able to see him.

The rest of the the film sees the pair fall in love, whilst Sharon also falls for Martin. Meanwhile, the other real ghosts stage paranormal events after getting fed up of Peter’s half-hearted efforts to scare. The film is energetic for sure but fairly nonsensical in places and the acting varies wildly across the cast. Apparently Jordan claims the film was taken out of his hands during the editing stage and the version released in cinemas doesn’t match his vision for the film. It’s clear that several scenes have been cut and truncated and it barely hangs together towards the end. On a positive note, the location work is excellent and the production design is solid. O’Toole works well as the eccentric Peter and D’Angelo and Tilly are fun to watch.

I’m not sure who is responsible for the artwork which is unique to this UK quad and there’s no obvious signature on it. If anyone has any ideas please get in touch.

Frank Henenlotter’s marvellously sleazy Basket Case is a true cult classic and is a film that transcended it’s micro budget to become a mainstay of midnight movies across the globe. Technically the film shouldn’t work; the acting is terrible throughout and makes the cast of Tommy Wiseau’s The Room look like Oscar-winning legends, the special effects are laughable and the editing is seriously rough in places, but the film has a certain charm that allows you to forgive it’s faults and revel in its trashy delights.

The film is definitely a love letter to a New York City, specifically the area around Times Square and 42nd street, that has long since changed. On the film’s excellent audio commentary Henenlotter talks about how he could see the change coming and shot lots of footage of the area so he could capture what it was like before it was cleaned up and sanitised beyond all recognition. Times Square was once a haven of sleazy nightclubs, nude shows and sex shops, full of weird and wonderful characters, particularly once the sun went down. Basket Case was shot in and around the area and you can really feel the griminess in every scene, particularly the opening shots where Duane (poodle-haired Kevin Van Hentenryck) makes his way through these streets on his way to Hotel Broslin.

Like many low-budget ($35k apparently) films Basket Case had some trouble getting into cinemas in the form that the director had envisioned. This is talked about in the commentary and is mentioned on Hotelbroslin.com, the official website:

When Analysis Films first released “Basket Case,” they cut it. They removed most of the gore so the film would be “funnier.” Obviously, the gore is part of the punch line so their cut version was awful, few came to see it, and the film died almost the moment it was released in April of ’82. However, “Drive-In Movie Critic” Joe Bob Briggs wanted to host the Dallas premiere of the film in June but wouldn’t host a cut version. So Analysis sent it to Dallas uncut and let it play there. The film quickly started selling out. So Analysis quietly replaced the cut version with the uncut version everywhere else and the film suddenly became a hit. After three weeks of the uncut version playing in New York’s Waverly Theatre in Greenwich Village, Analysis finally put an ad in the Village Voice announcing that, yes, it’s finally uncut.

The film was recently released on blu-ray and it’s a revelation to see the film as the director intended. It was shot on 16mm and so was originally full frame (4:3). To be able to show it at cinemas the distributor blew it up to 1:85:1 widescreen and, as Henenlotter notes, it made everything look squashed and claustrophobic, whilst also seriously affecting the many night scenes. For the blu-ray transfer the original 16mm negatives were used and the film has never looked better, particularly if, like me, you first saw the film on murky VHS.

This British quad features a surreal background made up of images from the Times Square of the time. There are various genuine brands in there as well as what I assume are fictional ones. I’m pretty sure the unknown artist’s name is one of the signs too, but can’t be certain. Note the cinema hoarding showing the 1971 horror film ‘Let’s Scare Jessica to Death’. The character holding the basket doesn’t look massively like Van Hentenryck but I think this can be forgiven!

The tagline and logo are also undoubted classics and rank up there as some of the best ever to grace British horror posters.

The film’s original trailer is on YouTube.

With great art by Robert Tanenbaum, this style A one sheet for Galaxina features an excellent tagline and an even better logo. The film itself is an undoubted clunker and currently has a rating of 3.0/10 on IMDb. I love this excerpt from the main review currently featured on the site:

While the guys are in cryosleep Galaxina, who has fallen in love with Sarge, teaches herself to speak and makes her body warm and soft. Upon thawing him out she offers herself to him, saying that she’ll make his every wish her command. Then she is kidnapped by space bikers who are going to sacrifice her to the god “Har Lee David Son,” when she is rescued, they get the blue star, the end.

Sadly, Playboy playmate Dorothy Stratten (Galaxina) was murdered just before the film’s release by her ex-boyfriend – more details on Wikipedia.

The bizarre trailer (Japanese version) can be seen on YouTube.

Hammer was an early entry in the blaxploitation subgenre of films that grew in popularity following the release of Sweet Sweetback’s Baadasssss Song and Shaft in 1971. The film stars ex-NFL player Fred Williamson whose nickname was The Hammer in real life and who would go on to become one of the subgenre’s key players. It was helmed by Kiwi director Bruce Clark who only has four directorial credits to his name, which includes the Roger Corman-produced sci-fi clunker Galaxy of Terror.

Williamson stars as B.J. Hammer a dockworker who is spotted as having some boxing talent by a shady trainer. He rises up the ranks and gains some notoriety but thing soon turn sour when his manager, who is also a dodgy gangster, asks him to throw his next fight in order to make some other crooks rich (that old chestnut). His girfriend Lois, played by another blaxploitation stalwart Vonetta McGee), is kidnapped by the gangsters in an effort to coerce Hammer into taking a dive, which means it’s time to show them what he’s capable of.

The film is today considered one of the lesser entries in the blaxploitation subgenre and it holds a fairly poor rating on IMDb, but it’s still one to seek out for fans of Williamson. This Japanese B2 poster features a unique photo montage as was typical of the era.

After eight films and close to 150 posters (according to the IMPAwards), this poster for the first film in the Harry Potter franchise is the only one I’m happy to add to my collection, and features art by the incomparable Drew Struzan. Perhaps the most frustrating thing is that it was originally intended to be the first in a series of Struzan designs; Drew was told he’d be doing a poster for each of the subsequent films. This design is featured in his must-buy book ‘The Art of Drew Struzan’ and he talks about the plans:

Hearkening back to Back to the Future and Indiana Jones, they wanted a consistent technique and style they could perpetuate through a series of posters. I watched the movie on a monitor, got the stills – it was everywhere. I’d never read the books, but fans felt the movie poster captured the spirit, the mystery and sense of adventure.

We were going to be treated to a new Struzan poster for every film release, but this was not to be and the studio changed its plans:

Warner Bros. got a new head of worldwide advertising. And whenever you get a new guy, he wants to flush everything approved by the prior regime.

A hugely disappointing move since Drew was (and is) the perfect artist to capture the magic and fantasy of the Harry Potter films, yet the studio felt photographic images were the only way to sell the films to the public. Drew was as disappointed as the rest of us:

I had been preparing to live with Harry Potter for six movies; I was really getting into it. At the point they killed me, I couldn’t let it go and went ahead and painted the finished version of the sequel for my own satisfaction. I had to complete it.

The Art of Drew Struzan features his design for the second film and it’s another superb poster, as expected. We can only imagine what the rest of the posters would have looked like, if only the studio had stuck with their plans…

British film website The Shiznit has collected all of the posters together and rightly awarded best poster of the series to this one.