(Above) Calcutta artist Rahul Jha’s take on the new Halloween “sequel” – which ignores the previous nine franchise follow-ups and serves as a direct continuation of John Carpenter’s 1978 original. With a production budget of just $10 million, Halloween (2018) earned $77.5 million in its opening weekend, making it the second highest grossing R-rated horror film in history after It (2017).
To read more about the making of the film, check out this interview I did with Green Room cinematographer Sean Porter (Kumiko the Treasure Hunter, 20th Century Women) for Filmmaker Magazine.
When Mondo put out its shingle back in 2004, it sold cult movie-centric t-shirts out of a room the size of a coat check closet at the original Alamo Drafthouse in Austin, Texas. Today, Mondo has transformed into a purveyor of highly sought-after alternative posters, commissioning original artworks whose limited runs typically sell out on their first day of availability. (continue reading) Continue Reading ›
If you’re wondering why most of the posters featured thus far in Deep Fried Movie’s ode to horror film art pre-date the millenium, it’s because the sanctioned release posters for most movies (regardless of genre) have settled into a glut of representational monotony in the last decade.
Which is why I have such enthusiasm for the groundswell of original poster art from contemporary designers like Jay Shaw. More of Shaw’s work can be found here at his website. Tune back in tomorrow when Deep Fried Movies takes a look at the posters of the A Nightmare on Elm Street series. Continue Reading ›
The LA-based outfit The Asylum made its name crafting “mockbusters,” low-rent versions of big-budget studio fare largely purchased by either lovers of bad cinema or people who didn’t look closely enough at the cover art . My stepfather once called me in the days when Blockbuster Video was still a thing to complain about the crappiness of the effects in Transformers, which he was super excited to have rented on the weekend it opened in theaters. I had to explain to him that he’d just inadvertently put money into the coffers of Transmorphers. Continue Reading ›
Graphic designer James White put together this imaginary VHS cover art for director Nicolas Winding Refn’s instant cult classic Drive. Below are a few additional examples of White’s work. To see more, visit White’s website.
CORRECTION: The original Drive poster design featured above is the work of James White, however the VHS mock-up of that design was put together by Canadian artist Nicolas Girard.