Twin Peaks: Fire Walk With Me - 1992

Twin Peaks: Fire Walk With Me, 1992 Giclee Print
9 in. x 12 in.

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Twin Peaks: Fire Walk With Me, 1992 Giclee Print
9 in. x 12 in.

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Framed   Mounted

Reservoir Dogs - 1992

Reservoir Dogs Poster
22.5 in. x 34 in.

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Most of the action in Quentin Tarantino's pulp crime movie takes place in a cavernous warehouse, to which the surviving participants of a botched jewelry heist have repaired to lick their wounds. The crooks amuse themselves by accusing each other of treachery (someone tipped off the police), waving their guns, screaming obscenities, and torturing a cop whom one of them has captured. This is, explicitly, a man's world.(There isn't a woman with a speaking part in the movie.)

Tarantino emphasizes the characters' absurdity; they're all presented as demented children, little boys with big guns. He wants us to feel as if we had crash-landed in an alternate universe: the Planet of the Goons. The movie runs on film-school cleverness-a homemade pharmaceutical cocktail of pop music, visual jolts, and allusions to Scorsese and Peckinpah. As supercool young directors go, Tarantino (whose first film this is) is fairly engaging: his nihilism is antic and oddly cheery. But the picture is less than the sum of its outrageous gags and inventive bits of business. The dramatic possibilities of infantile bullies goading each other to violence are sadly limited.

The story is impressively bloody, but the blood is thin, and it keeps leaking out; Tarantino has all he can do to maintain the movie's pulse. The film, for all its mayhem and fury, is too distant to be truly disturbing; it treats everything with an impatient, born-too-late shrug. This is a reasonably lively picture about nothing, and that's apparently just what it was meant to be. With Harvey Keitel, Tim Roth, Steve Buscemi, Michael Madsen, Lawrence Tierney, and Chris Penn.

The Crying Game - 1992

Writer / director Neil Jordan's powerful, layered suspense thriller/modern-day noir, which examines friendship, sexuality, love, political intrigue, race relations and human nature, was partly inspired by the classic Irish short story A Guest of the Nation by Frank O'Connor. The highly profitable independent film opens with the kidnapping of a British soldier named Jody (Whitaker) by a group of IRA resistance/terrorists, led by a cold, calculating femme fatale Jude (Richardson), who had entrapped the soldier by seducing him hile he was intoxicated.

One of the captors, Fergus (Rea), strikes an unlikely friendship with the prisoner, both knowing that Jody would most likely be executed. The execution goes awry when Jody, trying to escape, is accidentally killed by a convoy of British army soldiers, who immediately disperse the IRA cell. Fergus goes into hiding and partial retirement from the IRA in London, but feels compelled to honor his promise to Jody that if he was killed, he would tell Jody's beautiful lover Dil (Davidson, whose magnificent gender-bending Oscar-nominated performance was in a role that was considered uncastable) of his fate.

As a love triangle develops, Fergus soon finds himself attracted to Dil and valiantly protective of the lonely and aloof hairdresser, but both harbor a secret that would prevent them from romantically loving one another. The revelation of Dil's sexual secret is a Hitchcockian plot twist that audiences were urged not to reveal, which they honored. Complications arise when Jude shows up, and embroils Fergus in a dangerous assassination plot, using "wee black chick" Dil as collateral. The film was a smash hit both critically and commercially, and earned six Oscar nominations, including Best Picture and two nominations for Jordan for his direction and original screenplay (which he won.) Shockingly, Richardson would be nominated for her role in Damage (1992) rather than for this film.

Beauty and the Beast - 1991

Beauty And The Beast Poster
27 in. x 41 in.

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Arguably the most successful Disney animated film of all time, this film was the first animated feature film to ever receive a Best Picture Academy Award nomination. It was based on the classic 1756 fairy tale (written by Jeanne-Marie Leprince de Beaumont) and the importance of inner beauty. There were almost a dozen previous film incarnations, the most notable being the silent 1922 version and Jean Cocteau's French film La Belle et La Bête (1946). Beauty and the Beast returned the Disney animation studios to their former glory. The story told about a French peasant girl (O'Hara) who was treated kindly by a monstrous Prince-turned-Beast captor (Benson) and fell in love with him. The beautiful artwork and colors were supplemented by a well-written song score, from the Oscar-winning title song to the jaunty "Belle" and "Be Our Guest," all written by Alan Menken and lyricist Howard Ashman. It was also the second Disney film to combine its famous hand-drawn animation with computer graphics (The Rescuers Down Under (1990) was the first), as well as the first Disney animated movie to use a fully-developed script prior to animation. After this, Disney would release more huge traditionally animated hits in the summer, both commercial and critical, such as Aladdin (1992), The Lion King (1994), The Hunchback of Notre Dame (1996), Mulan (1998) and The Emperor's New Groove (2000), before deciding to close their hand-drawn animation wing in 2003.

Pulp Fiction - 1994

Pulp Fiction Poster Set
24 in. x 36 in.
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Pulp Fiction (1994) is an American crime film directed by Quentin Tarantino, who cowrote its screenplay with Roger Avary. The film is known for its rich, eclectic dialogue, ironic mix of humor and violence, nonlinear storyline, and host of cinematic allusions and pop culture references. The film was nominated for seven Oscars, including Best Picture; Tarantino and Avary won for Best Original Screenplay. It was also awarded the Palme d'Or at the 1994 Cannes Film Festival. A major critical and commercial success, it revitalized the career of its leading man, John Travolta, who received an Academy Award nomination, as did costars Samuel L. Jackson and Uma Thurman.

Directed in a highly stylized manner, Pulp Fiction joins the intersecting storylines of Los Angeles mobsters, fringe players, small-time criminals, and a mysterious briefcase. Considerable screen time is devoted to conversations and monologues that reveal the characters' senses of humor and perspectives on life. The film's title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century, known for their graphic violence and punchy dialogue. Pulp Fiction is self-referential from its opening moments, beginning with a title card that gives two dictionary definitions of "pulp". The plot, in keeping with most of Tarantino's other works, is presented out of chronological sequence.




Pulp Fiction 3 Dimensional Poster
18.5 in. x 26.5 in.
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The picture's self-reflexivity, unconventional structure, and extensive use of homage and pastiche have led critics to describe it as a prime example of postmodern film. Considered by some critics a black comedy, the film is also frequently labeled a "neo-noir". Critic Geoffrey O'Brien argues otherwise: "The old-time noir passions, the brooding melancholy and operatic death scenes, would be altogether out of place in the crisp and brightly lit wonderland that Tarantino conjures up. [It is] neither neo-noir nor a parody of noir".

Similarly, Nicholas Christopher calls it "more gangland camp than neo-noir", and Foster Hirsch suggests that its "trippy fantasy landscape" characterizes it more definitively than any genre label. Pulp Fiction is viewed as the inspiration for many later movies that adopted various elements of its style. The nature of its development, marketing, and distribution and its consequent profitability had a sweeping effect on the field of independent cinema (although it is not an independent film itself). A cultural watershed, Pulp Fiction's influence has been felt in several other media.