Flashdance - 1983

Flashdance Poster
24 in. x 36 in.

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That Oscar-winning title song buzzes in your ears long after the movie has stopped. The attraction here is youthful spirit and a pulsating score, because the weak story is merely a conduit for the song-and-dance numbers.

The plot is every young woman's daydream come true. Jennifer Beals holds down a macho job as a welder by day, but performs erotic dance numbers in a club at night. It's not a strip club, so her morality remains intact. She dates her wealthy boss (Michael Nouri) and practices hard for the day she can audition for the upscale, local dance school, even though she has no formal training.

It is malarkey, of course, unless you view this as total romantic fantasy. It works because you are carried along by the sheer force of the energetic, boisterous, MTV-style imagery by director Adrian Lyne. Beals is a plus as the stubborn, pouty, somewhat eccentric young woman made all the more interesting for her driving ambition. In the end, she is aided by her Prince Charming, who arrives bearing favors. Mind you, this is not the same as a rescue, as Beals is one rather tough damsel who does just fine on her own.

The Evil Dead - 1983

The Evil Dead Giclee Print
12 in. x 9 in.

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In the fall of 1979, Sam Raimi and his merry band headed into the woods of rural Tennessee to make a movie. They emerged with a roller coaster of a film packed with shocks, gore, and wild humor, a film that remains a benchmark for the genre. Ash (cult favorite Bruce Campbell) and four friends arrive at a backwoods cabin for a vacation, where they find a tape recorder containing incantations from an ancient book of the dead. When they play the tape, evil forces are unleashed, and one by one the friends are possessed. Wouldn't you know it, the only way to kill a "deadite" is by total bodily dismemberment, and soon the blood starts to fly.

Raimi injects tremendous energy into this simple plot, using the claustrophobic set, disorienting camera angles, and even the graininess of the film stock itself to create an atmosphere of dread, punctuated by a relentless series of jump-out-of-your-seat shocks. The Evil Dead lacks the more highly developed sense of the absurd that distinguish later entries in the series--Evil Dead 2 and Army of Darkness--but it is still much more than a gore movie. It marks the appearance of one of the most original and visually exciting directors of his generation, and it stands as a monument to the triumph of imagination over budget.

Caligula - 1980

Caligula, German Movie Poster, 1980 Giclee Print
12 in. x 9 in.

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Caligula, Japanese Movie Poster, 1980 Giclee Print
9 in. x 12 in.

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Caligula, 1980 Giclee Print
9 in. x 12 in.

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Before Rome. Before Gladiator. The most controversial film of all time as you've never experienced it before! Combining lavish spectacle and top award-winning stars, this landmark production was shrouded in secrecy since its first day of filming. Now, this unprecedented special edition presents a bolder and more revealing Caligula than ever before, with a beautiful new high-definition transfer from recently uncovered negative elements and hours of never-before-seen bonus material! From the moment he ascends to the throne as Emperor, Caligula enforces a reign like no other as power and corruption transform him into a deranged beast whose deeds still live on as some of the most depraved in history.

Malcolm McDowell (NBC's top-rated Heroes, Rob Zombie's Halloween, A Clockwork Orange, Time After Time, If..., Cat People and O Lucky Man), Helen Mirren: 2007 Academy Award & Golden Globe Winner for The Queen; 2007 Emmy & Golden Globe winner for HBO's Elizabeth I; star of hit TV series Prime Suspect and films including National Treasure: Book of Secrets, Calendar Girls, Excalibur, The Mosquito Coast, and The Cook, the Thief, His Wife & Her Lover), Peter O'Toole (Lawrence of Arabia, The Lion in Winter, The Ruling Class, My Favorite Year, Venus, The Stunt Man), John Gielgud (Gandhi, The Elephant Man, Kenneth Branagh's Hamlet, Alfred Hitchcock's Secret Agent, and Academy Award-winning role in Arthur).

Supporting cast includes a wide array of European cult actors including Teresa Ann Savoy (Salon Kitty), John Steiner (Mario Bava's Shock), Leopoldo Trieste (Cinema Paradiso), Mirella D'Angelo (Tenebrae), Paolo Bonacelli (Mission: Impossible III) and Adriana Asti (The Best of Youth).

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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Death Race 2000 - 1975 - Turkish Movie Poster

Death Race 2000, Turkish Movie Poster, 1975 Giclee Print
9 in. x 12 in.

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Valley of the Dolls - 1967

Valley of the Dolls, 1967 Giclee Print
9 in. x 12 in.

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They don't make 'em like this anymore. Well, John Waters might, if he ever had a big enough budget. A steamy "inside look" at the alternately sleazy and glamorous world of catfighting, backbiting show-biz starlets, this Hollywood hit from the bestselling novel by Jacqueline Susann is a high-gloss camp artifact--a time capsule (or some kind of capsule, anyway)--from the screwy '60s, when a broad was a broad, a bitch was a bitch (whether "her" name was Neely O'Hara or Ted Casablanca), and a "doll" was a prescription drug.

These dames of whine and poses obsessed over their bust lines, booze, and barbiturates. The once-shocking and scandalous language and behavior of these Broadway babes has been eclipsed by Dallas, Dynasty, and Melrose Place, but time has only enhanced the stature of Valley of the Dolls as a classic--and it still puts Showgirls to shame. With Patty Duke, Susan Hayward, Sharon Tate, Lee Grant, Barbara Parkins, and Martin Milner (and juicy, scene-chewing dialogue such as the infamous: "They drummed you out of Hollywood, so you come crawling back to Broadway. But Broadway doesn't go for booze and dope--now get out of my way, I've got a man waiting for me!"), Valley of the Dolls is the Mount Rushmore of backstage movie melodramas.

The Outsiders - 1982

The Outsiders, 1982 Giclee Print
9 in. x 12 in.

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Director Francis Coppola's adaptation of the popular S.E. Hinton novel about the price of rebellious youth is notable chiefly for the stunning cast of young actors who went on to rich and varied careers. In supporting roles, the film features the likes of Tom Cruise, Patrick Swayze, Diane Lane, Rob Lowe, Emilio Estevez, and Tom Waits, among others.

The story centers on two rival gangs in the early 1960s Midwest, and the violent turf wars that escalate and tragically claim young lives. C. Thomas Howell plays the central character who yearns to prove himself and be accepted by his older brothers' gang, while at the same time finding his first love and dreaming of a life beyond his dead end existence. Geared toward the teenage crowd, the film nonetheless features some fine direction from Coppola in a story that evokes memories of the classic coming-of-age films of the 1950s.

The Switchblade Sisters - 1975

The Switchblade Sisters Masterprint
12 in. x 16 in.

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Jack Hill's 1975 drive-in opus, Switchblade Sisters, has all the requisite cheese and then some: girl fights, gun duels, sex-starved reform school guards, flashes of nudity, and even African-American-Maoist-revolutionary-butt-kicking chicks who don't take nonsense from anyone.

The story is a prime example of how the influence of great filmmakers can be reprocessed into pure exploitation: Maggie (Joanne Nail), a smart, new member of a distaff gang, presents a threat to the group's established leader (Robbie Lee). The intricacies of their subsequent relationship--love, betrayal, and a battle for control--has numerous echoes of the films of Nicholas Ray and Howard Hawks, and Hill plays it all with a seriousness that underscores the heart within this trash classic.

No wonder Quentin Tarantino became this film's latter-day benefactor, promoting its 1998 theatrical re-release under the auspices of his revival imprint, Rolling Thunder Pictures.

Beat Girl - 1961

Beat Girl Masterprint
12 in. x 16 in.

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Before swinging London and the rock & roll explosion took over English youths, Britain's first teen rebel didn't have much of a cause but plenty of attitude. Pouty art-school student Jennifer (teen sex kitten Gillian Hills, looking very much a British Bardot) is the Beat Girl of the title, an alienated teenager who hangs out in coffee shops and underground clubs with beatniks and teddy boys.

When her self-absorbed father returns home with a sexy French bride, the picture warps into lurid melodrama as Jennifer tracks a suspicion about her stepmom to a sleazy strip club managed by an even sleazier Christopher Lee, whose salacious desires she realizes too late. Director Edmond T. Greville, a craftsman of the old school, brings an unexpected, edgy grit to the low-budget picture, injecting the callow clichés of lost youth with a nervous energy and a genuine sense of desperation.

John Barry's growling score gives the film a rumbling undercurrent, and the cheap, claustrophobic sets (often hiding in darkness) only enhance the sleazy atmosphere. The mix of teenage desperation, rock & roll music, and lurid sensationalism (complete with teasing nudity in the strip club) creates a strange hybrid: a teen exploitation film with a film noir soul. Costar Adam Faith sings a couple of songs and Oliver Reed appears in a few scenes as a drugged-up, funked-out teddy boy.

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 Rocky Horror Picture Show - 1975

Rocky Horror Picture Show Poster
24 in. x 36 in.

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If a musical sci-fi satire about an alien transvestite named Frank-n-Furter, who is building the perfect man while playing sexual games with his virginal visitors, sounds like an intriguing premise for a movie, then you're in for a treat. Not only is The Rocky Horror Picture all this and more, but it stars the surprising cast of Susan Sarandon and Barry Bostwick (as the demure Janet and uptight Brad, who get lost in a storm and find themselves stranded at Frank-n-Furter's mansion), Meat Loaf (as the rebel Eddie), Charles Gray (as our criminologist and narrator), and, of course, the inimitable Tim Curry as our "sweet transvestite from Transsexual, Transylvania."

Upon its release in 1975, the film was an astounding flop. But a few devotees persuaded a New York theater to show it at midnight, and thus was born one of the ultimate cult films of all time. The songs are addictive (just try getting "The Time Warp" or "Toucha Toucha Touch Me" out of your head), the raunchiness amusing, and the plot line utterly ridiculous--in other words, this film is simply tremendous good fun. The downfall, however, is that much of the amusement is found in the audience participation that is obviously missing from a video version (viewers in theaters shout lines at the screen and use props--such as holding up newspapers and shooting water guns during the storm, and throwing rice during a wedding scene). Watched alone as a straight movie, Rocky Horror loses a tremendous amount of its charm. Yet, for those who wish to perfect their lip-synching techniques for movie theater performances or for those who want to gather a crowd around the TV at home for some good, old-fashioned, rowdy fun, this film can't be beat.

Trainspotting - 1996

Trainspotting Poster
24 in. x 36 in.

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Is the rhetorical question asked by Renton (Ewan McGregor) early on in the movie. That sums up the complete hold that heroin exerts on the lives of main characters of the movie and the horrendous consequences of this addiction.

I have heard that Trainspotting has been criticized as glorifing drugs. People making this comment must be out of their minds. I have never seen such a powerful indictment of heroin and its effects and I ever had any inclination to try the stuff then a single viewing of the movie cured me forever.

Most movies that I watch leave no lasting impression on me but many of the scenes in Trainspotting will stay with me for a very long time. There are moments that make you laugh out loud (Spud's job interview for example) and others that are some of the most powerful and disturbing film images that I have ever seen.

Danny Boyle and co. have do a marvellous job of making a film about real people and real lives while making it compelling viewing at the same time. The soundtrack is excellent just to round off the experience.

Touch of Evil - 1958

Touch of Evil, Charlton Heston, Janet Leigh, Orson Welles, 1958 Giclee Print
9 in. x 12 in.

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Touch of Evil (1958) is a great American film noir crime thriller, dark mystery, and cult classic - another technical masterpiece from writer-director-actor Orson Welles. It was Orson Welles' fifth Hollywood film - and it was his last American film. Touch of Evil was the last great film noir during the so-called 'classic' era of noirs, from the early 1940s to the late 1950s.

Although unappreciated in its time in the US, a box-office failure, and criticized as artsy, campy, sleazy pulp-fiction trash, the low-budget film - in retrospect - has been ranked as the classic B-movie of the silver screen. (It was met with rave reviews in Europe, and won Best Picture at the Brussels Film Festival).

It was completely un-nominated for Academy Awards -- bypassed by the Academy that instead gave Best Picture honors to the frothy, somewhat distasteful musical tale of Gigi (1958) (with a record nine Oscar wins), about a young woman trained to be a courtesan of a wealthy suitor.

This great noir was shot on location in Venice, California rather than in the film's setting of Mexico (possibly the border town of Tijuana but called Los Robles in the film). The film's script, written in about two weeks, was loosely based upon Whit Masterson's (a pseudonym for Wade Miller - aka Robert Wade and William Miller) 1956 pulp novel, Badge of Evil.

Taxi Driver - 1976

Taxi Driver Framed Sign
19 in. x 22 in.

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Taxi Driver (1976) is director Martin Scorsese's and screenwriter Paul Schrader's gritty, disturbing, nightmarish modern film classic, that examines alienation in urban society. Scorsese's fourth film, combining elements of film noir, the western, horror and urban melodrama film genres. Historically, the film appeared after a decade of war in Vietnam, and after the disgraceful Watergate crisis and President Nixon's resignation.

It explores the psychological madness within an obsessed, twisted, inarticulate, lonely, anti-hero cab driver and war vet (De Niro), who misdirectedly lashes out with frustrated anger and power like an exploding time bomb at the world that has alienated him. His assaultive unhinging is first paired with a longing to connect with a blonde goddess office worker (Shepherd), and then with an attempt to rescue/liberate a young 12-year old prostitute named Iris (Foster) from her predatory pimp "Sport" (Keitel) and her tawdry, streetwalking life. [The young Foster, who had previously acted for Scorsese in Alice Doesn't Live Here Anymore (1974), was required to undergo psychological tests to see if she would bear up during filming.]

Taxi Driver has been acknowledged as consciously influenced by John Ford's The Searchers (1956) - the story of another angry war veteran and social outcast who becomes obsessed during a search and rescue of his young niece from a long-haired Comanche chief named Scar. Ford's film was about his fanatical quest to liberate the young girl, restore her virtue, and return her to society, in order to purify his own soul, although he remains an outsider.

Easy Rider - 1969

Easy Rider Poster
27 in. x 40 in.
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Easy Rider (1969) is the late 1960s "road film" tale of a search for freedom (or the illusion of freedom) in a conformist and corrupt America, in the midst of paranoia, bigotry and violence. Released in the year of the Woodstock concert, and made in a year of two tragic assassinations (Robert Kennedy and Martin Luther King), the Vietnam War buildup and Nixon's election, the tone of this 'alternative' film is remarkably downbeat and bleak, reflecting the collapse of the idealistic 60s. Easy Rider, one of the first films of its kind, was a ritualistic experience and viewed (often repeatedly) by youthful audiences in the late 1960s as a reflection of their realistic hopes of liberation and fears of the Establishment.

The iconographic, 'buddy' film, actually minimal in terms of its artistic merit and plot, is both memorialized as an image of the popular and historical culture of the time and a story of a contemporary but apocalyptic journey by two self-righteous, drug-fueled, anti-hero (or outlaw) bikers eastward through the American Southwest. Their trip to Mardi Gras in New Orleans takes them through limitless, untouched landscapes (icons such as Monument Valley), various towns, a hippie commune, and a graveyard (with hookers), but also through areas where local residents are increasingly narrow-minded and hateful of their long-haired freedom and use of drugs. The film's title refers to their rootlessness and ride to make "easy" money; it is also slang for a pimp who makes his livelihood off the earnings of a prostitute. However, the film's original title was The Loners.