This is the photo style B1 poster for the release of Godzilla Against Mechagodzilla, which was the 26th film in the series featuring the King of the Kaiju (giant monsters). The film was also the fourth release in the third generation of Godzilla films, which is known as the Millenium Series, and it marked his fourth showdown with Mechagodzilla. Unlike the rest of the Millennium series, this film shares continuity with the earlier Toho productions, including the original Godzilla (1954).

This poster features the Japanese Actress Yumiko Shaku who stars as Japanese Defence Force Lieutenant Akane Yashiro, a Maser Cannon operator who is made a scapegoat after her actions fail to stop a rampaging member of Godzilla’s species. During the same battle, scientists realise that Godzilla is now immune to Maser fire and, after the skirmish is over, they begin work on a new weapon to stop him in the future. Using the skeleton of the original Godzilla that was defeated back in 1954, scientists create a new cyborg Mechagodzilla that is inducted into the Defense Force and given human controllers as part of the new Kiryu squadron.

Akane is given a role as a pilot despite suspicion from some of her squad mates. The pilots are located in a giant VTOL plane that hovers above Mechagodzilla, relaying instructions to it. During the reveal of the new machine to the public, Godzilla appears and as the two start to battle, Godzillas roar apparently awakens something within the original skeleton of Mechagodzilla and the machine goes on a rampage, destroying much of the city around it, once Godzilla has retreated. After bringing the machine under control the Kiryu squadron continue to work on Mechagodzilla in preparation for the next monster attack. When Godzilla appears once more, another battle commences which sees the remote control technology damaged. Akane decides to risk a descent to earth, where she enters Mechagodzilla and pilots the machine from within.

The film was well received by Japanese audiences and, as can be seen from the description above, was clearly one of the films that had an influence on director Guillermo Del Toro’s recent monsters versus machines film Pacific Rim.

The original trailer can be watched on YouTube.

Over the years a number of films have been subjected to various cuts and re-edits that alter the filmmakers’ original vision for both good and bad. This has included Apocalypse Now with its ‘Redux‘ cut in 2001, the multiple versions of Blade Runner that culminated with 2003’s ‘Final Cut’ and the strange case of Superman II. None of these revisions were quite as ill-judged as the fate that befell Italian director Mario Bava‘s 1974 horror Lisa and the Devil when it flopped at the European box-office.

An entertaining if somewhat bizarre horror set in Spain, the original film focused on Lisa (Elke Sommer) a tourist in Toledo who becomes separated from her group and winds up at a crumbling old mansion on the edge of town. There she meets the eccentric inhabitants and becomes embroiled in a series of strange and often murderous situations involving the family and the house’s mysterious butler (Telly Savalas in one of his more quirky roles).

When the film failed to perform in Italy and the few other European countries in which it was released, the producer Alfredo Leone convinced Bava to retool the film as an Exorcist clone to capitalise on the success of the then recently released American classic. New scenes were shot featuring a demonically possessed Elke Sommer and a priest played by Robert Alda, and the original film was heavily edited so these new flashback scenes could be incorporated.

Leone and Bava clashed heavily over the style of the new scenes and the latter eventually walked away from the project (the director was credited as the fictional Mickey Lion, the surname being English for Leone), which was released in the UK and US as The House of Exorcism to instant critical derision (many reviewers calling it an Exorcist rip-off) and poor commercial performance. All in all the project was a total waste of time for all concerned. Recently the UK video label released Lisa and the Devil on blu-ray in its original version and included the House of Exorcism on the same disc.

Although not confirmed for definite, the artwork on this quad is likely to be by the British designer and artist Mike Vaughan. As detailed in Sim Branaghan’s must-own British Film Posters: An Illustrated History, Vaughan was born in 1940 and joined a London advertising agency aged 16, having skipped art school but learning on the job as he rose through the ranks from tea boy to working on accounts for the likes of British Airways and American Express. He started working on film posters at the end of the 1960s and his most famous are the ones he painted for Hammer, which included The Vampire Lovers and Lust For a Vampire.

Sim believes one of Vaughan’s last posters was for the clunker Arabian Adventures in 1979. The artist stopped commercial work altogether at the end of the 1980s and started producing fine artworks, focused on racing yachts and sporting events, that were sold through several prestigious London galleries. Sadly the artist passed away suddenly in July 2003 from a blood clot on the brain. The Hammer Horror Posters website features several of his pieces in a large gallery.

One of several copycat zombie films made following the success of Romero’s Dawn of the Dead and Lucio Fulci’s Zombie, this effort by Italian director Bruno Mattei (under the pseudonym Vincent Dawn) shamelessly features many of the same types of characters and situations seen in the earlier films (SWAT team, zombie kids, hostages), and even uses sections of Goblin‘s score for DotD.

It sounds like the production was something of a nightmare, with botched filming and script-altering that rendered much of the film’s plot incomprehensible. The film features several sections of documentary footage taken from other productions and the original script apparently had a much grander scope:

In the first draft, Claudio Fragasso had followed the idea of an entire Third World made up of an army of zombies against whom the armed forces of the industrialized nations would have had to fight. However, the script had to be altered considerably due to budget limitations.

This quad features artwork which Sim Branaghan, author of the great book British Film Posters: An Illustrated History, believes to have been adapted from the original Italian poster. Ted Baldwin, who was the regular illustrator used by distributor Mircale Films, is likely to have made several changes to adapt it to the quad format.

Here’s the original trailer.

This is the B2 poster for the Japanese release of Godzilla: Final Wars, which was the 28th film in the long-running franchise featuring the King of the Kaiju (giant monsters). The film was also the sixth release in the third generation of Godzilla films (known as the Millennium Series). Final Wars was something of a milestone for the film’s production company Toho Company Ltd as it marked 50 years since the release of the original film that started it all and also marked a break in the production of Godzilla films, with Toho declaring they wouldn’t film another Japanese entry in the franchise for at least 10 years and then dismantling the stage used for most entries.

Final Wars is set in 2044 and sees the Earth Defence Force dealing with an alien threat in the from of the Xiliens who secretly unleash Kaiju across the planet, including Rodan, Ebirah and Anguirus. After cities like Sydney, Shanghai and Paris are almost destroyed the aliens remove the Kaiju in an act of supposed benevolence and warn the earth about an impending impact from an asteroid called Gorath. The UN is disbanded and an alliance called the Space Nations is formed to tackle the new threat. A few members of the Earth Defence Force distrust the aliens’ intentions and discover that they were responsible for unleashing the Kaiju and that they really intend to harvest humanity for food. The group hatch a plan to unleash Godzilla from his frozen tomb in Antarctica where he’s lain for 40 years to help them tackle the threat.

The film is something of a greatest hits compilation, featuring as it does monsters and human characters from the franchise’s past, and the montage nature of this poster suits it well. Toho spent almost $20 million producing the film, which was the highest budget in the franchise to date, but unfortunately the medley of monsters and anniversary tag didn’t help it’s critical or commercial performance. It’s eventual box-office takings totalled just $12 million and made it the worst performing film in the series for 27 years.

The artwork on this poster is by Noriyoshi Ohrai, my favourite Japanese artist and certainly in my top five greatest film poster illustrators of all time. He’s responsible for a number of other Star Wars related posters, including this lovely 1982 B2 to celebrate the release of the Japanese dubbed version of the original film. He also worked on other posters in the Godzilla franchise, some of which can be seen here. In March 2014 a retrospective exhibition was held in Japan of Ohrai’s work and I made the trip over to Miyazaki to see the exhibition. I’m very glad I did as it featured most of his original artwork and a whole array of posters and book covers. A full report will follow soon.

The posters I’ve managed to collect by Noriyoshi Ohrai can be seen by clicking here.

Hidden Fortress: The Last Princess is director Shinji Higuchi‘s take on Akira Kurosawa’s 1958 original classic The Hidden Fortress. By all accounts Higuchi ups the pace and gore levels significantly. The plot is described thusly:

Makabe Rokurota (Hiroshi Abe), the loyal retainer of Princess Yuki-hime of Akizuki (Masami Nagasawa), is moving the Princess and the prefecture’s ample treasury of gold bars safely to the politically stable Hayakawa area. They disguise themselves as humble firewood peddlers, hiding the gold bars inside the logs they are carrying, so as to pass safely through roadblocks, which are under the control of the local warlord. Along the way, Rokurota comes across Takezo (Jun Matsumoto) and Shimpachi (Daisuke Miyagawa), who have escaped from forced labour in a gold mine. They eventually agree to help out on this foolhardy mission in the hope of escaping Yamana’s oppression and cashing in on the gold reward Rokurota offers them.

The Takezo and Shimpachi characters (called Tahei and Matashichi in the original) were famously to serve as inspiration for George Lucas when he created Star Wars’ R2D2 and C3P0. The three reviews for this film that are on IMDb don’t exactly paint the film in a great light:

‘The two peasants are given more screen time and fleshed out more, but not to any productive effect. In the original they were the model for R2D2 and C3PO. In the updated version, they become Jar Jar Binks with sappy emotions.’

This poster has artwork that is credited to Takehiko Inoue who is a Japanese artist that was born in 1967 in Okuchi, Kagoshima and is best known for his work on manga, with two titles in particular, Slam Dunk and samurai tale Vagabond, that are popular across the globe. His Wikipedia page details a history of his work and also notes that he’s a huge fan of basketball and is a published sports writer. Inoue has also done design work for video games, including Lost Odyssey on the Xbox 360. I can’t find any record of any other film poster work but I can only assume he has done some.

J. Lee Thompson‘s 10 to Midnight is often called a cross-genre film since it mixes elements of police thrillers with scenes typically seen in slasher films. Charles Bronson stars as Leo Kessler a detective on the hunt for a crazed killer who stabs female college students to death after they reject his advances. The murderer, played by Gene Davis (his IMDb pic is a still from this film), always strips naked to carry out his crime and thus leaves no evidence behind. Eventually Kessler goes against his partner’s advice and plants evidence to frame the killer, but when this ruse is discovered the killer is released and executes his revenge against the detective.

The film is apparently based on the crimes of two real-life serial killers, Richard Speck and Ted Bundy, and the screenplay was originally called Bloody Sunday before being renamed to its current title, which is totally unconnected to the plot.

The film was produced and released by Cannon Films, the legendary production house responsible for a slew of low-budget films throughout the 1980s. Unusually, 10 to Midnight was given two quad posters to promote it; this one featuring artwork and a photographic style, which I also have in the collection and can be seen here. I’m not sure why there were two designs released, but it may be that this artwork style came first and then the photo one was designed for other areas of the UK? The film was released around the time when illustrations were being used less and less as distributors decided that audiences no longer trusted posters (and video sleeves) with artwork, so that might have something to do with it.

I’m also unsure who is responsible for the artwork but there is the word Rosslyn visible as a neon sign in the background street scene so that might be the surname of the illustrator. I’m a fan of the way the knifeman is pointing out the time with his arms.

The original trailer is on YouTube.

Big Guns, a crime thriller from the late, prolific Italian director Duccio Tessari, starred French acting legend Alain Delon as Tony Arzenta, a mob hitman whose decision to retire angers the bosses and leads to the accidental death of his wife and child. Arzenta sets out on a bloody revenge mission, unleashing his particular set of skills on the criminals who wronged him. Richard Conte, who had starred in The Godfather a year earlier, also features as Nick Gusto, a Sicilian crime boss who wants to bury the hatchet with Arzenta, much to the consternation of his associates.

The film was released internationally (as No Way Out in the US, for example) and this poster was printed for Japan, a country in which Delon has a huge fan base. The main image is taken from a moment during one of the car chases for which the film is perhaps best remembered, and a clip from it can be watched here.

The original trailer is on YouTube.

Filmed in Canada by an Italian director (Alberto De Martino under the pseudonym Martin Herbert), Blazing Magnum has multiple alternative titles, including Shadows in an Empty Room, and is an entry into the poliziottesco genre of cinema. The story sees tough Ottawan police captain Tony Saitta (Stuart Whitman) travel to Montreal to investigate the untimely death of his sister at a party. Before long more bodies start to appear, the list of suspects grows and Saitta teams up with Sergeant Ned Matthews (genre stalwart John Saxon) to crack the case.

The film is perhaps best known for it’s insane, nine minute car chase around the streets of Montreal, which was filmed without permits and staged by legendary stunt performer Rémy Julienne, whose work includes six James Bond films and the original Italian Job. The chase can be watched in all its glory on YouTube – it definitely rivals other legendary cinematic car pursuits! It also features a giallo-esque scene in which a murder is committed in the same room as a blind girl, Saitta fighting a bunch of drag queens and a dwarf gangster.

Check out this Motion Picture Purgatory entry on DreadCentral.com.

The artwork on this Japanese poster is by one of my favourite artists, the mysterious Seito. It appears on the Italian poster (image taken from emovieposter.com), as well as others, so it’s likely that Seito may have adapted another illustrator’s work for this B2, unless the other countries used his illustration? The American one sheet is markedly different and plays up the murder mystery side of the plot.

The trailer can be viewed on YouTube.

Italian director Enzo G Castellari’s shark on a rampage film was blocked from release in America after Universal Pictures, the studio behind Jaws, successfully sued citing plagiarism. It’s not hard to see why, as per the plot description on IMDb:

An enormous and angry 35 foot Great White Shark takes revenge on humans when they build a beach just for swimmers by a coastal town. After several shark attacks, and the Mayor does nothing to stop it, James Franisscus and Vic Morrow sail in pursuit to stop it.

This poster comes from a limited release by Venture Pictures International in 1982. The film has never been released on home video in the States or in the UK and it seems that Universal continue to block screenings to this day, though it appears Amazon offers a video on demand version. It’s available on DVD in Italy and Sweden and, as per that article, Severin Films intend to pursue a UK release soon.

I’m not sure who the artist is behind this poster so get in touch if you have an idea.

Here’s the original US trailer – check out Vic Morrow‘s Quint impression!

Artwork by the great Drew Struzan on this US one sheet for French director Jean-Jacques Annaud‘s 1986 medieval whodunnit, starring Sean Connery and Christian Slater in one of his first major film roles. Based on the book by Italian novelist, semiotician, philosopher and critic Umberto Eco, the film focuses on the investigation of a series of mysterious deaths in an isolated abbey by the monk William of Baskerville (Connery) aided by his novice Adso of Melk (Slater). The pair must race against time to prevent falsely accused suspects, including Ron Perlman‘s demented hunchback Salvatore, being punished at the hands of the inquisitor Bernardo Gui (F. Murray Abraham).

Struzan’s portrait of a balding Connery is absolutely spot on and easily on par with the one he did three years later for Indiana Jones and the Last Crusade. According to IMDb, the presence of the ugly characters in the film (and on the poster) is due to Annaud “casting the ugliest actors he could get because he wanted the characters to appear “real”, based on the men in the village where he lived. When he returned to his village, some of the men asked him if he really considered them to be as ugly as the actors, and he said, “Yes.”

Several other international posters for the film, including this German one, depict Connery looking extremely serious and glum.

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

The original trailer is on YouTube.

The Fall of Ako Castle (AKA Swords of Vengeance) is the late director Kinji Fukasaku‘s take on the real historical event known as the Forty-seven Ronin, which took place in early 18th Century Japan. The tale of revenge focuses on a group of samurai who were left leaderless after their feudal lord is forced to commit ritual suicide (seppuku) after assaulting a court official. The ronin spend two years planning their revenge attack and once it is complete are forced to also commit seppuku for the act of murder. The story was popularised in Japanese culture as emblematic  of the loyalty, sacrifice, persistence, and honor that all good people should preserve in their daily lives.

The story has been brought to the cinema screen at least six times, with perhaps the most famous version being Chushingura: Hana no Maki, Yuki no Maki (1962), featuring Toshirō Mifune as one of the ronin, who would also go on to feature in Fukasaku’s version. Next year Keanu Reeves is set to star in 47 Ronin, a Hollywood version of the tale that sees him play a half Japanese half British character who joins the samurai in their quest for revenge.

Superstar actor and martial artist Sonny Chiba headlined Fukasaku’s version and is perhaps best known in the West for his role in 1974’s The Street Fighter, which firmly established him as a martial arts legend. Fukasaku had earlier directed several successful samurai period and yakuza films such as Battles Without Honor and Humanity (1973) and the Japanese portion of 1970s Tora! Tora! Tora! His final film, Battle Royale (2000), is perhaps the one he is best known outside of Japan.

The film’s original trailer is on YouTube.

The Outlaw Josey Wales is widely considered to be one of the best Westerns of all time, and certainly one of Clint Eastwood‘s finest efforts. Inspired by the 1972 novel The Rebel Outlaw: Josey Wales by Forrest Carter, the film was originally to be helmed by Philip Kaufman who had written the script and been through pre-production before being fired from the set a few days into filming, with Eastwood himself taking the director’s chair for the remainder of the production. Set towards the end of the American Civil War, Josey Wales (Eastwood) is a peaceful Missouri farmer who is driven to revenge after his family is brutally murdered by a sadistic Union officer and his farm razed to the ground.

Wales joins a group of pro-Confederate rebels to fight and when the war ends his group is ordered to surrender peacefully, which Wales refuses to be part of. Following the massacre of most of his group, Wales attacks and kills several men and the Union captain places a bounty on his head as he flees. On his journey, Wales reluctantly picks up a diverse bunch of companions, including two Native American Indians, and he tries his best to evade the union troops and bounty hunters on their trail and start a new life for himself. This was the first film that paired Sondra Locke with Eastwood and was the beginning of their romance that lasted for fourteen years.

This Japanese B2 is the ‘style A’ poster for the film’s release there and there are three B2s in total, including the style C, which uses the same artwork as the US one sheet. This artwork is an adapted version of the alternative artwork as seen on the US 40×60 and half-sheet posters. All original American posters were designed by Eastwood’s long-time film marketing collaborator, the great Bill Gold, and this painting was by an American artist call Roy Andersen. According to this biography Andersen passed away last year but throughout his career he was known for his work depicting Native Americans and Old West images, including cowboys and related scenes. Artnet has an extensive gallery of his works here.

Directed by Lamberto Bava (son of legendary Italian director Mario) and produced by horror maestro Dario Argento, Demons is much loved by horror fans for its high quality gore, stylish look and great Claudio Simonetti score. It’s definitely up with the best of Italian horror films (some other examples here). The plot is kept simple; the film focuses on a group of people trapped in an old Berlin cinema as a horde of ugly demons begin attacking and a fight for survival ensues.

The artwork on this poster is by the Italian artist Enzo Sciotti who is responsible for some of the best Italian cult film posters of the past 25 years.

Here’s the original trailer on YouTube.

Filmed by prolific Italian B-movie director Antonio Margheriti, the bizarre caveman-sci-fi hybrid Yor the Hunter From the Future actually started out as a four part TV series shown on Italian TV called ‘Il Mondo di Yor’ (The World of Yor), which itself was based on a comic book series of the same name. Margheriti, who shot the entire thing in Turkey, cut the four-hour series down to this 90-minute version that was distributed internationally and is now regularly cited as one of the worst films ever released.

Reb Brown plays the bronzen, muscled and poodle-haired Yor, a mysterious warrior who travels through an prehistoric world besieged by cavemen tribes and dinosaurs in search of his origins. Along the way he meets Ka-Laa (played by the gorgeous Corinne Cléry) and Pak (Luciano Pigozzi) two primitives who help Yor on his journey to discover the secret of the golden medallion he wears around his neck.

This poster for the US release of the short version features a brilliantly pompous and full-stop heavy tagline.

The original trailer is on YouTube.

The distinctive German filmmaker Werner Herzog directed his frequent collaborator, the equally eccentric Klaus Kinski, for the first time in this 1972 German New Wave adventure film Aguirre, Wrath of God. The story follows a 16th Century Spanish expedition from the mountains of Peru into the jungle surrounding the Amazon river as a band of conquistadors search for the mythic city of El Dorado and the riches that supposedly dwell within. After struggling through the difficult terrain the leader of the group selects a small band of people to scout ahead. Commanded by Don Pedro de Ursua (Ruy Guerra), with Don Lope de Aguirre (Kinski) as his second in command, they soon encounter further difficulties and the expedition descends into a nightmare from which there may be no return.

Tales of Herzog and Kinski’s battles behind the scenes are legendary and the film is known to have had a very high pressured shoot. Apparently, before every shot featuring Kinski, the director would deliberately infuriate the actor in order to get the performance he desired. The story goes that when Kinski made the decision to leave the set and return home, Herzog pulled a gun and threatened to shoot him and then turn the gun on himself.

Herzog once said of Kinski: “People think we had a love-hate relationship. Well, I did not love him, nor did I hate him. We had mutual respect for each other, even as we both planned each other’s murder”.

This is the poster for the film’s first release in Japan in 1983.

The original trailer for Aguirre is on YouTube.

A Japanese double-bill poster for re-release of ace director Werner Herzog‘s two masterpieces. Made ten years apart, both films star Klaus Kinski, a frequent collaborator, and the stories behind the making of the films are legendary.

Fitzcarraldo tells the true story of  one man’s obsession to build an opera house in the Peruvian jungle, a task that sees him having to drag a full-sized steamer boat over a mountain from one river to another. Rather than rely on special effects or clever editing, Herzog and the crew actually did drag a steamer boat over a mountain! The story of the shoot was told in the excellent documentary Burden of Dreams.

Aguirre, Wrath of God was a similarly chaotic and pressured shoot and the story goes that when Kinski decided to leave the set and return home, Herzog pulled a gun on him and threatened to shoot him and then turn the gun on himself.

Herzog once said of Kinski: “People think we had a love-hate relationship. Well, I did not love him, nor did I hate him. We had mutual respect for each other, even as we both planned each other’s murder”.

I believe this double-bill poster was for a Japanese release in either 2000 or 2001 and the artwork is by an artist called Suzuki Cohjizukin about whom I know very little. Some of his other works can be found with a google search but if anyone knows anything more about him please get in touch.

Here are the original trailers for Fitzcarraldo and Aguirre.

This is one of those posters that you can’t quite believe the studio was willing to go ahead and print, but you’re very glad they did! The poster was designed and illustrated by the brilliant cartoonist Chris Ware, the man behind the sublime Jimmy Corrigan, the Smartest Kid on Earth graphic novel and other excellent creations such as Quimby the Mouse (one of his earliest charatcters).

In an article on the Vulture website, the artist says of the poster; “I wanted to get at both the transcendent solemnity of the film while keeping some sense of its loose, very unpretentious accessibility.” He also remarks,”This being a poster, however — and even worse, me not really being a designer — I realized it also had to be somewhat punchy and strange, so as to draw viewers in and pique their curiosity without, hopefully, insulting their intelligence.”

The intricate lettering, oblique imagery and brilliant use of colour is quintessential of Ware’s work and it’s a thrill to see it on such a big scale. I’ve read some complaints that it’s almost too difficult to read, but I think that’s part of its charm and it is infinitely more interesting than most of the bland photoshopped creations so prevalent today.

The film itself, as the title suggests, focuses on the reminiscences of Uncle Boonmee, a dying man who spends his final days recalling his previous lives with the ghost of his dead wife and his long lost son who has returned as a kind of ape creature with red eyes (as depicted on this poster). Directed by Apichatpong Weerasethakul, the film is based on a book that was written after a man named Boonmee approached Phra Sripariyattiweti, the abbot of a Buddhist temple in the director’s home town, claiming he could clearly remember his own previous lives while meditating. The abbot was so impressed with Boonmee’s ability that he published a book called A Man Who Can Recall His Past Lives in 1983.

Winning the Palme d’Or at the 2010 Cannes Film Festival, it’s certainly not a film for everyone with slow meditative sequences and bizarre, often hallucinatory imagery, but it’s definitely worth a watch, particularly for fans of world cinema.

The original trailer is on YouTube.

A stunning piece of artwork on this Japanese B1 poster for Godzilla vs King Ghidorah, which was the 18th film in the series featuring the King of Monsters. The film was the third release in the second generation of Godzilla films, which were part of the Heisei era of Japanese monster movies (daikaiju eiga). The monster movie eras are named after the Japanese emperor at the time, so the first generation of Godzilla films were part of the Shōwa era.

The story sees the legendary monster facing off against one of his greatest foes, the three-headed dragon monster King Ghidorah. The origin of the monster has changed over the years and this film is no exception; in this story Ghidorah is the result of the irradiated fusing of three genetically-engineered bat-like creatures called ‘Dorats’. The monster is then unleashed on Japan by the villains in the film, time-travellers from the 23rd century called the Futurians. By the end of the film Godzilla has to battle Mecha-King Ghidorah, a resurrected cyborg version that is brought to Tokyo from the future – typically brilliantly bonkers story-telling!

The artwork on the poster is by Noriyoshi Ohrai who is something of an enigma, even in his native Japan. I’ve been unable to find much about him beyond a few pages like this one on the Star Wars Wookiepedia. He’s responsible for a number of Star Wars posters, including this lovely 1982 B2 to celebrate the release of the Japanese dubbed version of the original film and the brilliant design for The Empire Strikes Back.

Ohrai painted a poster for each of the Heisei era of Godzilla films, which were always accompanied by a photographic-style poster. I will be adding more of the Ohrai Godzilla posters over the coming weeks.

The other Ohrai posters I’ve added to the site so far can be seen by clicking here.

Prolific Italian director Enzo G Castellari was behind a string of low-budget rip-offs homages of successful American productions during the 1980s. Having directed Great White in 1980 (pulled from release after a successful lawsuit by Universal Pictures), there’s no question that his 1983 post-apocalyptic film Bronx Warriors owes a lot to John Carpenter’s classic Escape From New York, with a generous dash of Walter Hill’s The Warriors (1979)

To be fair to Castellari he was a pioneer in the Poliziotteschi (Italian crime film) genre in the 1970s, with La Polizia Incrimina la Legge Assolve (AKA High Crimes – 1973) and Il Grande Racket (The Big Racket – 1976) being particular standouts. He was also behind the war films La battaglia d’Inghilterra (Eagles over London – 1969) and the original Inglorious Bastards (Quel maledetto treno blindato – 1978). By the 1980s the director was churning out a series of B-movies, including Bronx Warriors and The New Barbarians (1983) and would eventually move into directing TV movies during the 1990s and 2000s.

Bronx Warriors follows the plight of 17-year-old Ann (Stefania Girolami Goodwin), the heiress to a questionable arms company (The Manhattan Corporation) who runs away into the lawless wasteland of a post-apocalyptic Bronx and is attacked by a gang of roller skaters (!) called The Zombies. She’s rescued by The Riders, another gang who are led by Trash – played by Mark Gregory (actually Marco de Gregorio, a non-actor Castellari had met in the gym) – who take Ann under their protection. The corporation dispatches the ruthless psychopath Hammer (Vic Morrow in his penultimate role before his untimely death during the filming of Twilight Zone the Movie) to disrupt the gangs and return Ann safely.

The artwork on this quad is by the brilliant British artist Brian Bysouth, whose wonderfully detailed illustrations featured on hundreds of posters over three decades. His most famous designs and artwork include the withdrawn one sheet for A View to a Kill, Highlander, Big Trouble in Little China and The Living Daylights. Bysouth would work on the quad for the sequel to this film, Escape 2000 (AKA Fuga Dal Bronx), one year later.

In 2012 I interviewed Brian Bysouth and the resulting article can be read here.

The international trailer is on YouTube.

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.

This 1974 Canadian horror, originally produced and released as Black Christmas, is often credited as being the first in the slasher sub-genre that went on to spawn countless others in the years that followed, including John Carpenter’s Halloween and Friday the 13th. It was one of the earliest films to feature the concept of a mysterious psychopath hunting down and murdering teens one by one, and it also was one of the first horrors to feature scenes shot from the killers point of view. Director Bob Clark was an American who worked in Canada for over a decade, producing some of the country’s most successful films, of which this was the highpoint. He had previously helmed the low-budget zombie horror Children Shouldn’t Play with Dead Things (1973) and would later see great success with the teen comedy Porky’s (1982) and the classic A Christmas Story one year later. Clark was tragically killed along with his son in a head-on car crash in 2007.

Although the film had seen great success in Canada with its production title of Black Christmas (for its release in 1974) the American distributor Warner Bros apparently changed the title to Silent Night Evil Night (and later Stranger in the House) because it feared audiences would think the film was an entry in the then burgeoning blaxploitation genre. After flopping in its first release in the USA (in 1975), the title was later changed back to Black Christmas and the posters that had already been printed with ‘Silent Night…’ had a snipe with the original title glued over the top, as can be seen on this one sheet.

The artwork is by the American artist Robert Tanenbaum. To see other posters I’ve collected by him click here.

A colourful montage on this Japanese B2 poster for Godzilla vs SpaceGodzilla, which was the 21st film in the series featuring the King of the Kaiju (giant monsters). The film was the sixth release in the second generation of Godzilla films, which were part of the Heisei era of Japanese monster movies (daikaiju eiga). The monster movie eras are named after the Japanese emperor at the time, so the first generation of Godzilla films were part of the Shōwa era.

The story is typically ludicrous and sees fellow kaiju Mothra travel in to space to stop a meteor hitting earth and inadvertently exposing cells from Godzilla (and Biollante) to the radiation from a black hole, which then triggers the creation of an aggressive extraterrestrial closely resembling the famous monster. SpaceGodzilla immediately heads to earth, destroying a space station on the way, and after battling and knocking out Godzilla it imprisons his son on Birth Island and heads to Japan intent on destruction. The Japan Self Defense Forces have time to scramble their latest weapon in the fight against kaiju, the penguin-like robot called Mogeura. But is it enough to stop the rampaging alien?

The artwork on the poster is by the late Noriyoshi Ohrai who was something of an enigma, even in his native Japan. He’s responsible for a number of Star Wars posters, including this lovely 1982 B2 to celebrate the release of the Japanese dubbed version of the original film and the brilliant design for The Empire Strikes Back.

Ohrai painted a poster for each of the Heisei era of Godzilla films, which were always accompanied by a photographic-style poster.

The other Ohrai posters I’ve added to the site so far can be seen by clicking here.

A striking design on this poster printed for the Japanese release of For a Few Dollars More, the second in legendary director Sergio Leone‘s unofficial ‘Dollars trilogy’, all three of which starred Clint Eastwood and helped put him and the sub-genre of the so-called Spaghetti Western firmly on the cinematic map. Although not conceived by Leone to be a series, The ‘Man with No Name’ concept was coined by the studio United Artists as an angle to sell the films, particularly since Eastwood plays the three different characters with similar mannerisms and dressed in the same attire. Despite the ‘n0 name’ label, Eastwood’s characters have a different nickname in each of the films.

In For a Few Dollars More he plays Manco (Spanish for ‘one-armed man’), a bounty hunter who is on the trail of the ruthless outlaw El Indio (Gian Maria Volonté) and his gang. Whilst on the hunt Manco meets Col. Douglas Mortimer (Lee Van Cleef, who would also appear in the next film in the trilogy) another bounty hunter who is also after the same man, and the two agree to team up and eventually split the reward. As the bullets begin to fly it soon becomes clear that the bounty hunters have different motivations for wanting to kill El Indio.

This Japanese poster is actually for the 1972 re-release, although it’s almost identical to the one printed for the original 1967 Japanese release, which can be seen here. The only really notable difference is the alternate studio logo in the bottom right corner and a different number on the Eirin stamp.

A colourful montage on this Japanese B2 poster for Godzilla vs Mechagodzilla, which was the 2oth film in the series featuring the King of the Kaiju (giant monsters) and was marketed as the 40th anniversary of the series. The film was also the fifth release in the second generation of Godzilla films, which were part of the Heisei era of Japanese monster movies (daikaiju eiga). The monster movie eras are named after the Japanese emperor at the time, so the first generation of Godzilla films were part of the Shōwa era. Despite sharing the same title with a 1974 film, this is neither a remake or a re-imagining of the earlier version.

The story sees the United Nations Godzilla Countermeasures Center (UNGCC) created in order to stop the legendary monster. Two machines are manufactured from the salvaged parts of Mecha-King Ghidorah, a mechanised abomination last seen in 1991s Godzilla vs King Ghidorah; one is a flying gunship called Garuda and the other is the titular Godzilla-like robotic beast. When a mysterious egg is discovered on an island in the Bering sea, both Godzilla and Rodan – the irradiated pteranodon seen in several previous films in the series – appear and battle over it, allowing a team to escape to a research centre in Kyoto. When the egg hatches it is revealed to be Baby Godzilla (AKA Godzilla Junior) and once again the legendary Kaiju is summoned to Japan by its psychic powers. The UNGCC decide to mobilise their new defence weapons and both Rodan and Godzilla are pitched against the metallic foes.

The artwork on the poster is by Noriyoshi Ohrai who is something of an enigma, even in his native Japan. I’ve been unable to find much about him beyond a few pages like this one on the Star Wars Wookiepedia. He’s responsible for a number of Star Wars posters, including this lovely 1982 B2 to celebrate the release of the Japanese dubbed version of the original film and the brilliant design for The Empire Strikes Back.

Ohrai painted a poster for each of the Heisei era of Godzilla films, which were always accompanied by a photographic-style poster. I will be adding more of the Ohrai Godzilla posters over the coming weeks.

The other Ohrai posters I’ve added to the site so far can be seen by clicking here.

David Cronenberg‘s ‘future shock’ classic features a memorable turn by Michael Ironside as the superbly-monikered Daryl Revok, the evil leader of a renegade group of ‘Scanners’; mutant humans born with extreme telepathic and telekinetic powers who are capable of controlling machines and infiltrating the minds of others, often with head-popping consequences. The film is responsible for one of the best animated gifs on the internet.

This Japanese B1 features great artwork but I’ve been unable to identify the artist, so if you have any ideas please get in touch. The main figure is based on the one illustrated by Joann on the excellent British quad.

The film’s original British trailer is on YouTube (“You pray it will end…and it will!”).