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I don't have posters for The Godfather and The Godfather Part II, but I do have one-sheets for both Ginger and its sequel The Abductors. So that shows you where my priorities are.
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Godawful, boring poster for perhaps James Cameron's best movie. With all the fantastic images in The Abyss, why the hell was this graphic travesty foisted off upon us? It was probably a big reason the movie didn't do any better than it did.
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Ahh, the late 80s poster trope: the half-a-face. Not my favorite design element, I must say. This isn't even a movie I like very much, but it comes from the collection of the late Patrick Flynn, so I have to keep it. Patrick liked to trip on acid and watch the rape scene in this movie. Yes, he was a friend of mine.
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Bemis Balkind painted the stunning artwork for one of Scorsese's finest films. I sure wish Scorsese would go back and do something as low-budgeted and energetic as After Hours.
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One of the greatest movies posters of all time, from New Yorker Films and designed by Sawyer Studios. The colors and textures in this piece blow me away, as does the conspicuous absense of a lot of typography. Klaus Kinski's eyes are creepier here than on film, which is an achievement unto itself.
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Simple, elegant, and the final poster to sport the phrase "A Stanley Kubrick Production."
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Brilliant takeoff on the old MGM logo, with a furry Donald Sutherland replacing Leo the Lion. Never seen this movie, but I love the one-sheet.
ALFREDO ALFREDO (Pietro Germi, 72). Folded, VG
Hideous poster for what I understand is a failed comedy from Germi and his star, Dustin Hoffman. Bought this for a dollar, and I might have gotten ripped off.
ALICE DOESN'T LIVE HERE ANYMORE (Martin Scorsese, 74) Folded, G
Very sweet image from Oscar-winning film (and a rare poster featuring both stars). Slight damage n the poster's center, but nothing terrible).
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A suitably stark one-sheet for this landmark journalistic thriller. The poster is actually a lot more detailed than it looks here: the figures of our two stars are etched with a sort of pointillist technique, and the background consists of lightly printed words--presumably Woordward and Bernstein's--describing the Watergate break-in.
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Another very simple poster, and another of my favorites. The type takes center stage here; the font that the title and many of the credits are in remains one of my favorites ever, as does the the movie itself. I am happy to see more and more people these days regarding Fosse's movie as the masterpiece it is.
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A perfect movie poster: striking, colorful, communacative, with beautiful type and a very memorable, succinct tagline. One of the finest one-sheets of all time.
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For all you playas out there...
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Inventive, stark, creepy and (if you've seen the movie) quite funny, this pre-release one-sheet for Mary Harron's adaptation of Bret Easton Ellis' sicko novel emerges slightly above the release poster, which is also damn good, but is quite a bit less mysterious. I would imagine that the right fan of this cult movie would pay a nice price to have this one up on their wall.
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An ugly poster, but I still sorta like the boldness of sticking the tag line front and center here. The flies help, too!
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Director Richard Fleischer is a long way from 20,000 Leagues Under the Sea here. Another ugly poster, but it came from Robert Schnieder's 3D movie poster collection, so I had to keep it.
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Dull, dull, dull. But I like the movie, so here it is...
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A gorgeous black-and-white image from an underrated Luc Besson romancer.
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I haven't seen Robert Duvall's directorial debut since it came out, but I remember being mightlly intrigued by its narrative/documentary mash-up. I adore the poster and the accompanying copy.
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Could be more exciting, but I suppose it's an inventive variation on the half-a-face trend in thriller posters of the era. The colors are exquisite here, I must say.
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I despise this show, and the movie (except for the incredible opening, a spoof of the famed "Let's All Go To The Lobby" policy trailer, with music by Mastodon). But I do have to say I love the Frazetta-esque, epic quality of its one-sheet: it's very nearly the best thing about the film.
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