Perfectly retro, urgent and effective. I love the flow and color scheme - the latter of which is refreshing in this era of stark white horror posters.
So weird, so...cute. And I love the look on Ken Marino's face. This horror-comedy could have adapted to something so generic in its poster campaign and we, instead, got this unsettling snapshot of cuddling.
A zombie movie without a single zombie on it. Perfect.
I didn't care for the film, but the design - using a bit of the ol' reflection symmetry - makes for a trippy visual experience when you stare at it long enough.
I love the scope of this one and where it takes you. Vietnam. Hippies. Zombies. A film crew. George Romero himself. Perfect representation of a time and place.
Nothing irks me more than a publicity photo with a title slapped over it, but this works.
Daring and just screwed up. It's an admittedly simple design, but, how did they get away with this?
Bikers riding out from between a pair of spread legs with explosions, flipping cop cars, a stick of dynamite and a mad doctor? SOLD.
"Sex sells," part 1. A little too "Sin City," still, it works for the movie and is one of the classier designs to be used.
This one is smart: Don't offer a straight-forward depiction of the monster, but interpret him in the legacy of destruction he leaves behind. Maybe too smart for the mainstream, but perfect for the Comic-Con crowd.
A reverse take on The Company of Wolves. It definitely catches the eye.
A late entry 2013's poster offerings, this one is fittingly retro as well. In fact, it reminds me of the hellish conclusion of The Black Hole. No relation to anything that happens in this wild, far-out film, of course.
A poster fitting for a film that's a European vampire film throwback. Quite beautiful.
A poster that looks like it was conceived on a really talented 4th grader's Trapper Keeper. I'm obsessed.
"Sex sells," part 2. The campaign for this film has been consistently racy. I love it. Because I'm easy like that.
A poster that carries an intimidation factor and anonymity. It's lurid and pulpy.
Trace the branches - the devil is in the details here. The artist offers plenty of negative space, but a lot to look at as well.
Gritty, clever and apropos. The first in a series of posters for this shitty film, but this was the best of the lot.
This one goes against what you expect from a poster about Bigfoot. The screaming faces, the skull visage...all very eerie.
Lionsgate knocked out a number of one-sheets to promote You're Next, but this one is my favorite. It begs you to take some time with it. To explore.