Can you spot the stealth Golden Arches?

A great tagline for Stanley, a 1972 schlock-fest from the director of such classics as Mako: The Jaws of Death, The Naked Zoo and Impulse.

I’m not sure who the artist is so get in touch if you have any ideas as to who it should be credited to.

Witness the nutso original trailer on YouTube.

Great Bob Peak artwork on this poster for the third in the original series of Star Trek films, The Search For Spock. For some reason, despite Peak having done the poster for the first film, his artwork wasn’t used for the USA one sheets of the sequel or this film, but it did appear on the international posters for The Wrath of Khan and this film. The studio then went back to using Peak artwork on the US posters for the fourth and fifth films.

The Search For Spock picks up where the second film left off and sees the surviving crew of the Enterprise returning to Earth after their fight against the superhuman Khan. Before long Captain Kirk and the rest of the crew are hijacking the decommissioned Enterprise and racing to save the spirit of Spock, who was previously feared dead, from the clutches of a Klingon commander near an unstable planet created by the Genesis device from the second film.

Seen by many as the start of the ‘all odd-numbered Star Trek films are bad’ rule, the film was fairly well received by critics, but many fans reacted negatively to its talky script and poor production values, particularly the effects used to realise the Genesis.

The original trailer for the film is on YouTube.

A classic piece of Bob Peak artwork on this poster for the fourth in the original series of Star Trek films, The Voyage Home. For some reason, despite Peak having done the poster for the first film, his artwork wasn’t used for the USA posters of the second and third in the series, but did appear on international posters for The Wrath of Khan and The Search For Spock. The studio then went back to using Peak artwork on the US posters for the fourth and fifth films.

The Voyage Home is memorable for its extensive use of location-filming, which took place in around the city of San Francisco, as well as for its humorous, knowing script and barmy plot in which the crew must travel back in time to 1986, find two humpback whales, and transport them into the future so their calls can be used to save Earth in 2286. The film marked the culmination of a storyline that began in The Wrath of Khan.

The rather odd international one sheet for the film can be seen here.

The original trailer for the film is on YouTube.