Poltergeist - 1982

Poltergeist, 1982 Giclee Print
9 in. x 12 in.

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A memorable supernatural horror film from co-producer/co-writer Steven Spielberg and director Tobe Hooper (better known for his cult horror classic The Texas Chainsaw Massacre (1974)). This was Spielberg's first smash hit as a co-producer, paired with Frank Marshall (who later produced Who Framed Roger Rabbit? (1988)). Its classic 'haunted house ghost story' is fascinating to watch, with extraordinary special effects created by George Lucas' Industrial Light and Magic team, from a screenplay by Spielberg, Michael Grais, and Mark Victor.

It was released at the same time as another suburban tale with otherworldly visitors: E.T.: The Extra-Terrestrial (1982) and can also be interpreted as a threatening, scarier version of director Spielberg's pre-E.T. film: Close Encounters of the Third Kind (1977). Compared to both films, Poltergeist is the dark flip side for Diane and Steve Freeling (Williams and Nelson) in the Cuesta Verde housing development, with ordinary objects that turn threatening (for example, a suburban tract dream home, a backyard tree, a favorite doll, a closet, and a TV screen).

The famous poster reflected one of the more memorable, spookier moments of the film, with young 5 year-old Carole Anne (Heather O'Rourke) pressed against a television showing nothing but white noise, saying, "They're here."There were two, less successful sequels in subsequent years: Poltergeist II: The Other Side (1986) and Poltergeist III (1988). Many filmgoers have been intrigued by the seemingly-tragic legacy of the film, with the unexpected deaths of star Dominique Dunne (in her last film role before her tragic murder by her live-in boyfriend) and O'Rourke (who died six years later just before the second sequel's release).



Poltergeist, Turkish Movie Poster, 1982
11 in. x 17 in.

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Planet of the Apes - 1968

Planet of the Apes, 1968
12 in. x 9 in.

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A thought-provoking and engrossing science-fiction film classic - a loose adaptation (by formerly blacklisted Michael Wilson and Rod Serling) of the Pierre Boulle novel La Planète Des Singes (Monkey Planet), about four NASA astronauts, including Colonel 'George' Taylor (Heston), who have traveled for centuries in cyrogenic suspension. After a crash landing on an Earth-like planet, they find themselves stranded in a strange and remote place dominated by English-speaking simians who live in a multi-layered civilization. The apes dominate society, and humans (who possess few rights) have been reduced to subservient mute slaves and are even hunted as animals. In danger of being castrated or lobotomized, Taylor cries out the memorable: "Get your stinking paws off me, you damn dirty ape!" The apes in this exciting and engaging action thriller include archaeologist Dr. Cornelius (McDowall), his scientist fiancee Zira (Hunter) - an 'animal psychologist,' and malevolent, arrogant, government orangutan leader Dr. Zaius (Evans). This Vietnam War, Cold War and Civil Rights era film makes many subtle points about race, animal rights, the establishment, class, xenophobia and discrimination.

The film is most noted for its twist ending when George rides down a beach on horseback in the Forbidden Zone with beautiful mute cavewoman Nova (Harrison), and suddenly he stops when he sees something, and dismounts to stare upwards; as the camera pans forward toward Taylor, through a spiked object, he exclaims: "Oh, my God! I'm back, I'm home. All the time, it was..." He drops to his knees: "We finally really did it." He pounds his fist into the sand and rails against Earth's generations almost 2,000 years earlier that had destroyed his home planet's civilization with a devastating nuclear war: "You maniacs! You blew it up! Ah, damn you! Goddamn you all to hell!" The full object comes into view as the camera pans backward - the spiked crown of a battered Statue of Liberty buried waist-deep in beach sand. This film was also a pioneer in modern movie marketing, spawning not only four sequels and a 2001 remake (and two television series spinoffs), but also action figures and other similar merchandising, foreshadowing later merchandising for Star Wars (1977) and the Indiana Jones series.

The Nightmare Before Christmas - 1993

The Nightmare Before Christmas Poster
26 in. x 40 in.

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Night of the Living Dead - 1968

Night Of The Living Dead 3D
27 in. x 41 in.

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One of the most important and influential horror films of all time - George Romero's ultra-low budget debut film shot in grainy black-and-white with an unknown cast reinvented the genre. The film was actually improved by its crude "drawbacks," since they lent a documentary feel and reality that made the film all the more horrific. The screenplay was taken from an unpublished short story Romero had written called Anubis, so-named after the Egyptian god of the dead. In the simple yet brutally relentless plot of claustrophobic horror, the 'living dead' (re-animated corpses) mysteriously rise from the grave for no known reason (though there are vague references to radiation from a fallen satellite), forcing a group of seven strangers to take refuge from the shuffling, hungry, flesh-eating zombies in an isolated Pennsylvania farmhouse.

A capable black man (Jones) assumes leadership as the army of corpses repeatedly try to enter the house during a terrifying siege, amidst both unspoken racial and generational tensions between him and a less capable, older white family man (Hardman). The images of the film are haunting, from the opening scene in the cemetery, where flighty female lead Barbra (O'Dea) is teased by her brother Johnny (Streiner in an uncredited role): "They're coming to get you, Barbra!" before being attacked by one of them, to the shot of the zombified little girl consuming her mother (often taken to be a social metaphor for the late 1960s youth of the nation rebelling against their elders). Meanwhile, news and radio reports from the mass media emphasize the panic and threat. The tragic ending comes from the actions of real mindless zombies -- living lynch mobs. While initially considered drive-in schlock, the film gained in popularity and critical respect, and raised Romero to great heights as a horror filmmaker. He would go on to make a zombie trilogy with the successful Dawn of the Dead (1978) and the lesser Day of the Dead (1985), before remaking his own Night of the Living Dead (1990) in color and with subtle changes to the plot, including a reworked beginning and ending.

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.

Rosemary's Baby - 1968

Roman Polanski's first American film, from Ira Levin's best-seller - a convincing, creepy, psychological, Satanist horror/thriller about a young pregnant wife who suspects and has strange premonitions about diabolical forces (a witches' coven) threatening her unborn baby. Young newlywed couple Rosemary (Mia Farrow) and aspiring, out-of-work actor/husband Guy Woodhouse (Cassavetes) move into a gothic NYC apartment complex, with intrusive, elderly next-door neighbors Roman (Blackmer) and nosy Minnie Castevet (Gordon). With a fertile imagination, Rosemary gradually believes that she hasn't been impregnated by her husband but by the Devil.

Starring: Mia Farrow, John Cassavetes, Ruth Gordon, Sidney Blackmer
Director: Roman Polanski

The Exorcist - 1973

A disturbing, shocking, exploitative, and frightening film adaptation of William Peter Blatty's best-selling, blockbuster book about satanic demon possession. A sweet pre-teenaged girl Regan (Blair) becomes possessed by an evil spirit - and is soon transformed and disfigured into a head-rotating, levitating, green vomit-spewing, obscenity-shouting creature. Her divorced mother Mrs. MacNeil (Burstyn) is at wit's end, until she calls on a dedicated, faith-questioning Jesuit priest Father Karras (Miller) to exorcise the malevolent devil from her daughter's body. An elderly priest Father Merrin (von Sydow), whose archaeology project released the Satanic being, also risks his life to administer rites of exorcism with incantations and holy water.

Alien - 1981

Alien Framed Art Print
16 in. x 22 in.

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A grisly, futuristic, suspenseful, atmospheric, memorable and popular science fiction/horror film about the intergalactic journey of a claustrophobic, commercial space cargo freighter, the Nostromo. With terrific sets designed by surreal artist H. R. Giger. The crew includes warrant officer heroine Ripley (Weaver in her starring debut role), Kane (Hurt), Dallas (Skerritt), Ash (Holm), and others, who are awakened from hyper-sleep to investigate a distress signal on a mysteriously bleak, dead planet with a crashed alien spacecraft. In its interior, a lifeform with tentacles clings to Kane's helmet/face, incubates inside his host body, and ultimately bursts from his gut. The hideous, indestructible, carnivorous creature grows in size and hides within the hyper-tech spacecraft, menacing and picking off one crew member after another until self-reliant, resourceful Ripley outsmarts the primal, lethal monster in the explosive conclusion. Followed by three sequels, including James Cameron's Aliens (1986), Alien3 (1992), and Alien Resurrection (1997). Academy Award Nominations: 2, including Best Art Direction/Set Decoration. Academy Awards: 1, Best Visual Effects.

Jaws - 1975

Jaws Wall Mural
48 in. x 72 in.
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Jaws (1975) is a masterful, visceral and realistic science-fiction suspense/horror-disaster film that taps into the most primal of human fears - what unseen creature lurks below the dark surface of the water beyond the beach? The tagline for the tensely-paced film, "Don't go in the water," kept a lot of shark-hysterical ocean-swimmers and 1975 summer beachgoers wary (similar to the effect that Hitchcock's Psycho (1960) had on shower-taking).

The screenplay, mostly written by young, 27 year-old director Spielberg himself and Carl Gottlieb, was provided in part by Peter Benchley who wrote a trashy action novel by the same name (but originally titled A Stillness in the Water) about the fictional New England coastal town of Amity, Long Island - a summer resort that is terrorized by a menacing Great White Shark (known as the genus/species Carcharodon carcharias. Both Benchley's best-selling book (released in the winter of 1973-74) and Spielberg's film borrowed from various sources.

The Bride of Frankenstein - 1935

Bride of Frankenstein, Boris Karloff, 1935 Photographic Print
18 in. x 24 in.
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The Bride of Frankenstein (1935), a masterpiece of classic horror films of the 1930s, appears as a series than the original prototype of Frankenstein (1931). [There are so few sequels that are superior to their predecessors - Another example would be The Godfather, Part II (1974).] Although the film was in production, it was titled The Return of Frankenstein until that it is released. The film's title is actually a misnomer - the bride "is not the Frankenstein monster's bride, but Elizabeth (played by seventeen years Valerie Hobson), wife of Dr. Frankenstein. [Mention of the film often falls on the "The" title of the film.]

The macabre, satirical film is generally regarded as one of the greatest horror movies of all time - a spectacular, bizarre, high-camp, too, humor, slapstick and surreal film. Both films were produced by Carl Laemmle Jr. Frankenstein (the head of Universal) and directed by horror master James Whale, at a time when monster movies were diminishing. The film reunites Colin Clive (as Dr. Frankenstein) with Boris Karloff as the monster, but has introduced two new characters in the foreground: Ernest Thesiger as a necromancer who has miniaturized and detained several people in glass jars, and Elsa Lanchester the Monster Bride.

Whale provided all parodies of horror with its current and future workforce, insurmountable swansong on-the-top in the genre. The next two films in the series have been second sequel to Universal's original 1931 film - Director Rowland V. Lee 's Son of Frankenstein (1939), with the third and final appearance as the Karloff monster in a feature film. It was followed by the all-star House of Frankenstein (1944), with Boris Karloff in the role of evil scientist Dr. Niemann.