movie review quotes on posters

Den of Geek

Where do Movie Poster Quotes Come From?

Quotes on posters: they're just taken from reviews, once reviews are published. Right? Er, not always...

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This article originally appeared on Den of Geek UK.

“ Bourne   meets   Inception ,” screamed the poster for the underrated  The Adjustment Bureau , back in 2012. Universal Pictures’ marketing team can hardly be blamed for jumping on that particular phrase when it first appeared in  Total Film   magazine, and it became an integral part of the film’s subsequent promotional campaign.

It made sense, too.  Inception , at that time, had earned Warner Bros over $800m at the global box office. It had attracted Oscar attention. And as for the hugely successful  Bourne   films – which also starred Matt Damon at that stage, as  The Adjustment Bureau  did – well,  The Bourne Legacy  hadn’t happened back then. Marketing gold.

The problem, though, was the source of the quote. It was an honest quote from the pages of  Total Film .  The issue was that it came from a preview feature. The film hadn’t been seen at that stage, and to be fair to Universal here, it didn’t try and present said quote as a review. But it’s but one example of where the magical quotes that appear on movie posters tend to appear from.

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You would assume that the quotes all come from reviews, and the studio then cherry-picked the best ones for its needs. But you would not always be correct.

Please note: the posters used in this piece are for illustrative purposes only, rather than implying anything specific about them.

When It Works

To be clear, though, the majority of movie poster quotes do originate this way. In the bad old days, studios had a habit of taking a quote ruthlessly out of context and presenting, say, the word “Brilliant”, but omitting the bit where the text before said “it’s a shame, because if that had happened, it would have been…”. That’s a hypothetical example, but again, once upon a time not far off the mark.

More often than not, now a big studio will check and get permission for a quote before it’s used. Outlets had previously complained that their words were being misrepresented, and this seemed like a nice compromise. So far so good. An outlet has the right to veto a quote (as we’ve done in the past), and on the world turns.

But inevitably, things get murkier.

There’s arguably an advantage to the profile of an outlet in getting a poster quote. After all, if you’re looking to gain exposure for a website or publication, and there’s a chance you can get your name on a poster that’s going to be seen by potentially hundreds of thousands of people, then it’s at least enough to make you stop and think.

The  Daily Mail ‘s former film critic, Christopher Tookey, was one of those particularly damning of people he called “quote whores”. It’s an uncomfortable phrase, yet as he outlined on his website, it describes “the movie critics who praise films that ought not to be praised, and act as unofficial PR men and women for the film industry”.

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He collated a top 30 list of the people he described as “the top 30 quote whores in the world,” but just to give you an idea how long it’s been since he updated it, the highest ranked UK writer is Paul Ross, from his  News Of The World   days. The chart is  here .

This website has been quoted on posters many times in the past, and in truth, in the early days it was quite a thrill to see our name up there. Furthermore, when it feels like you’re giving fuel to a film that genuinely deserves as much exposure as it can get, then it’s hard to grumble.

However, increasingly, there are things about movie poster quotes that make them seem less like any kind of badge of honour, and more like an all-too-brief representation of what you’re actually trying to say. After all, there remains much debate about the merits of star ratings, yet the main review many casual moviegoers see is a rave review quote on a poster.

But where else do those quotes come from? Well sometimes, from people who haven’t seen the film concerned at all.

The Anticipation Quote

We’ve touched on the growing, worrying trend of the “anticipation quote” before at this site, but it’s worth going over the key points again. Because there have been occasions over the past couple of years where big movies have been labelled with quotes that the outlet concerned has been asked to provide. Specifically, the “anticipation quote.”

The first call we ever took about one of these was a good few years back. Would we like to pen a quote or two, about how much we were looking forward to a major blockbuster that happened to be released that summer? Could we, we were asked, say something along the lines of “the big movie for summer 20XX/”

No. No we couldn’t. This isn’t just a holier than thou moment, although we appreciate it may sound it. But how can you deliberately provide a promotional quote for a poster, that puts a value judgement on the film itself, if all you’d seen was a trailer?

Said film had no trouble filling its quote quota, though, and sure enough, a few weeks later as we walked through London, there was a huge poster, proclaiming it to be ‘the must-see movie of the summer’, with the name of the outlet concerned underneath.

That felt odd then, and feels odd now. That feels like you’re on the side of a movie marketing department, rather than readers for whom a trip to the movies is a big deal. But we’ve seen a few ‘anticipation quotes’ since then, and a few more we’ve suspected to be (although couldn’t be sure).

Request A Quote

Somewhere in the middle of all of this is an approach that tends to be used by small distributors.

The battle such distributors face is being able to get people to watch their films in good time in the first place, to be able to gleam a quote. Thus, selected journalists tend to be approached. The idea is thus that if an early screener or streaming link (of the finished film) could be provided, would the outlet concerned provide a quote that could, perhaps, go on the poster, or the DVD cover?

This happens a lot. Some are more happy to provide quotes than others. If there’s an issue, it’s that the quote may end being written before the review, and there’s a question then about whether you’re being a reviewer, or a PR auxiliary of sorts. But again: at the heart there is the issue that smaller films often need all the help they can get just to get noticed, yet alone watched. You don’t have to provide a quote, and you do watch the film first.

The Right Approach?

The excellent  The Shiznit  website nailed the best way forward in an article back in November 2013. Arguing that “the biggest bum-lickers do their best fawning in the vain hope of having their name appear on a one-sheet in 12 point Arial Bold”, it suggested that the right approach to getting your review quoted on a poster was to “work hard, gain respect, write truthfully and make your words mean something”.

But then many critics now attempt to sidestep being quoted on posters. “Somebody said recently that I never get quoted on posters,” Mark Kermode told us back in January. “And I was kind of rather proud of that. That I don’t. I genuinely don’t, partly because I never answer the emails asking for instant reactions but partly because, as you know, being quoted on posters is… sometimes a single-edged sword. Sometimes there’s only a downside to it.”

It’s hard not to see his point. Because after press screenings of films now, more often than not a reviewer will get an email from the PR company who put it on, after a reaction. Said reactions aren’t compulsory, and given the crazy deadlines PR companies tend to work under, again it’s an understandable approach.

But the problem? Those instant reactions have a habit of forming the poster quote. That if you send a reaction back, that may end up being quoted, even if it’s not a phrase that’s ultimately used in the final review. In which case, again, it’s a piece of writing not for the service of readers, but for a marketing department.

Maybe that’s all being a bit picky. The vast majority of poster quotes you see now are at least representative of the reviewer concerned, even if the reviewer is rarely named (the outlet tends to be). For PR and marketing departments too, there are more outlets than ever reviewing films, and so even a film such as the pretty terrible  Nativity 3  can glean a couple of positive notices to plaster on the DVD box.

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Still, it’s worth remembering: those words of encouragement staring at you from a piece of poster art aren’t always as gleeful and helpful as they may appear…

Simon Brew | @SimonBrew

Editor, author, writer, broadcaster, Costner fanatic. Now runs Film Stories Magazine.

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Movie Posters With Quotes From Amazon One-Star Reviews

Every movie gets at least one bad review, but what if those bad reviews were used as selling points on the movie posters? The Tumblr Awful Reviews takes one-star reviews from Amazon and places them on movie posters, to create humorous renditions of traditional movie advertisements . Moreover, most of the movies are liked by many, making the posters even funnier when you read some of the awful one-liners about great titles.

To see all the movie posters, check out the Awful Reviews Tumblr Page

By Mikaela Rakos

Mikaela is both a writer and content curator for Dashburst, looking to discover and share the latest news, art, entertainment and more. When not tracking down new content to share with the world, you can find Mikaela spending quality time with her rescue dog.

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Warning: review quotes can be very misleading

T he novelist Anthony Horowitz should not really have been surprised when some choice lines from an interview he conducted with Jeffrey Archer a year ago popped up, decontextualised, on the back of Archer's latest novel The Sins of the Father, which wasn't the book Horowitz had been talking about in the first place. The misleading quotation, after all, is a practice as old as writing itself. Nevertheless, Horowitz said : "It's a sad end to a 35-year career to find myself plastered over Archer's backside, so to speak."

I had my own experience of this last year, walking with my kids past the Shaftesbury Theatre in London, where Rock of Ages is playing. "Look!" screamed my daughter. "There's your name! That's the coolest thing ever!" And there, on one of the boards outside the theatre, was the quote: "'Rock'n'roll debauchery' – Michael Hann, the Guardian". Well, that's not all I said. The relevant paragraph of my one-star review read: "It's a very peculiar show indeed, with an unvarying and unpleasant tone of careless sexualisation. Rock'n'roll debauchery is presented as the pure and innocent way of dreamers."

I didn't really mind. In fact, I rather admired the resourcefulness on display. I contacted the theatre and the PR for the show, hoping to gain some insight into the art of quote harvesting, but each referred me to the other. I called the Advertising Standards Authority to ask if it received many complaints about the practice, but it turns out theatre hoardings – like book jackets – aren't actually ads and don't fall under its purview.

So the only way to avoid being quoted misleadingly, so far as I can tell, is to make sure your opinion of any piece of art is completely unequivocal. That's why, from now on, I am refining my reviewing into one-word summations of what I see or hear: "Great", "OK" and "Crap". And, yes, I know which one of those you might choose to use for your own billboard about this piece.

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25 Delightful Roger Ebert Quotes About Movies

The documentary Life Itself , a poignant tribute that celebrates Pulitzer Prize-winning film critic Roger Ebert, was released in theaters this weekend. Generations grew up reading the Chicago Sun-Times journalist and watching him on television with sparring partner Gene Siskel, where the duo coined their “two thumbs up” phrase for positive reviews in the series At the Movies . Ebert’s barbed wit, grace, and passion touched the most discerning cineastes, but he was also known as a critic for the common man. He battled cancer for more than a decade, which necessitated the removal of his lower jaw, but it never stole his ability to write — which he did until his death last year. Two days before his passing, Ebert announced he was taking a “ leave of presence ” on RogerEbert.com . “What in the world is a leave of presence? It means I am not going away,” he wrote. And he hasn’t, leaving us with his beautiful words and wisdom about cinema and beyond. In celebration of the release of Life Itself , we’re revisiting some of Ebert’s most delightful quotes about one of his greatest loves — film.

“No good movie is too long and no bad movie is short enough.”

“Every great film should seem new every time you see it.”

“Art is the closest we can come to understanding how a stranger really feels .”

“We live in a box of space and time. Movies are windows in its walls. They allow us to enter other minds, not simply in the sense of identifying with the characters, although that is an important part of it, but by seeing the world as another person sees it.”

“There will always be those who love old movies . I meet teenagers who are astonishingly well-informed about the classics. But you are right that many moviegoers and video viewers say they do not “like” black and white films. In my opinion, they are cutting themselves off from much of the mystery and beauty of the movies. Black and white is an artistic choice, a medium that has strengths and traditions, especially in its use of light and shadow. Moviegoers of course have the right to dislike b&w, but it is not something they should be proud of. It reveals them, frankly, as cinematically illiterate. I have been described as a snob on this issue. But snobs exclude; they do not include. To exclude b&w from your choices is an admission that you have a closed mind, a limited imagination, or are lacking in taste.”

“Every once in a while I have what I think of as an out-of-the-body experience at a movie . When the ESP people use a phrase like that, they’re referring to the sensation of the mind actually leaving the body and spiriting itself off to China or Peoria or a galaxy far, far away. When I use the phrase, I simply mean that my imagination has forgotten it is actually present in a movie theater and thinks it’s up there on the screen. In a curious sense, the events in the movie seem real, and I seem to be a part of them.”

“Most good movies are about the style, tone and vision of their makers. A director will strike a chord in your imagination, and you will be compelled to seek out the other works. Directors become like friends.”

“Most of us do not consciously look at movies .”

“ Old theatres are irreplaceable. They could never be duplicated at today’s costs – but more importantly, their spirit could not be duplicated because they remind us of a day when going to the show was a more glorious and escapist experience. I think a town’s old theatres are the sanctuary of its dreams.”

“When a movie character is really working, we become that character. That’s what the movies offer: Escapism into lives other than our own.”

“We Americans like to see evil in terms of guns and crime and terrorists and drug smuggling — big, broad immoral activities. We rarely make movies about how one person can be personally cruel to another, through their deep understanding of what might hurt the other person the most.”

“There was a time when the feature was invariably preceded by a cartoon, and audiences smiled when they heard the theme music for ‘Looney Tunes’ and ‘Merrie Melodies’ from Warner Bros. Cartoons have long since been replaced by 20 minutes of paid commercials in many theaters, an emblem of the greed of exhibitors and their contempt for their audiences. In those golden days, the cartoon (and even a newsreel and a short subject) was a gift from the management.”

“A film director , like an orchestra conductor, is the lord of his domain, and no director has more power than a director of animated films. He is set free from the rules of the physical universe and the limitations of human actors, and can tell any story his mind can conceive.”

“The point is not to avoid all Stupid Movies , but to avoid being a Stupid Moviegoer. It’s a difficult task, separating the good Stupid Movies from the bad ones. . . . ”

“A slow movie that closely observes human beings and their relationships can be endlessly fascinating, while a thriller with nonstop wall-to-wall action can be boring, because it is all relentlessly pitched at the same tone.”

“The film should be seen as it was originally made. This includes many b&w films of the silent era where some of the scenes were tinted.”

“The only responsibility of the script is to produce the best possible film. Those who think it must be ‘faithful’ seem to treat adaptation like marriage. Fans of some sources, like a comic book or a TV series, will be outraged by any changes, but adaptation can also mean improvement.”

“I’ve gone out to the lobby many times to complain about bad focus, bad sound, a dim bulb or improper framing. The most common reply: “That’s how they made it.” . . . Perfection is possible, if the projectionist loves his job.”

“It seems to me that there are two basic approaches to any kind of comedy , and in a burst of oversimplification I’ll call them the Funny Hat and the Funny Logic approaches. The difference is elementary: In the first, we’re supposed to laugh because the comic is wearing the funny hat, and in the second it’s funny because of his reasons for wearing the funny hat. You may have guessed by now that I prefer the Funny Logic approach. . . . ”

“The distribution system seems to be set up to turn every multiplex in this country into an idiot’s convention.”

“I am against censorship and believe that no films or books should be burned or banned, but film school study is one thing and a general release is another. Any new Disney film immediately becomes part of the consciousness of almost every child in America, and I would not want to be a black child going to school in the weeks after Song of the South (1946) was first seen by my classmates.”

“American films are usually about one or two stars and a handful of well-known character actors, while Europeans are still capable of pitching in together for an ensemble piece. There is nothing new in the message of this film, but a great deal of artistry in its telling.”

“I’m not opposed to 3-D as an option. I’m opposed to it as a way of life for Hollywood , where it seems to be skewing major studio output away from the kinds of films we think of as Oscar-worthy. Scorsese and Herzog make films for grown-ups. Hollywood is racing headlong toward the kiddie market. Disney recently announced it will make no more traditional films at all, focusing entirely on animation, franchises, and superheroes. I have the sense that younger Hollywood is losing the instinctive feeling for story and quality that generations of executives possessed. It’s all about the marketing. Hollywood needs a projection system that is suitable for all kinds of films—every film—and is hands-down better than anything audiences have ever seen. The marketing executives are right that audiences will come to see a premium viewing experience they can’t get at home. But they’re betting on the wrong experience.”

“Cinema, for me, has always been something like music composed with photographic images . Others see it more like ‘action painting,’ and we’ve seen a lot of discussion in recent years about what J. Hoberman and others have called ‘post-photographic cinema’, in which computers have replaced cameras, and animation has replaced photography, as the primary means of creating images on the screen.”

“In the previous century the movie theater was often, in smaller towns and cities, the only grand architectural statement, save perhaps for a church or courthouse. They unashamedly provided a proscenium for our dreams.”

The 50 Best Movie Posters Ever

Sometimes, one sheet is all it takes to pique your interest in a film: a dazzling color scheme, a clever concept, an arresting image. Film posters are more than just marketing materials – they’re undeniably an artform in themselves, with the world’s greatest illustrators and designers (including the likes of Drew Struzan, Saul Bass, and Bill Gold who passed away earlier in 2018 ) producing works that have sometimes become as iconic as the movies they’re promoting. Empire has gone back to the drawing board to find the 50 greatest movie posters to ever grace cinemas, bedrooms, and billboards everywhere.

50. Little Miss Sunshine

A great example of colour scheme that extends from a film to its marketing. Yellow emanates from this heartwarming Sundance hit, seen on Paul Dano ’s t-shirt and the lovably rubbish VW campervan, here flooding the negative space of both trailer and poster. Showing a key element of the film – the van doesn’t start easily, so the family have to run and jump into it – it presents an image in motion, but without losing the sense of family and humour.

49. The Graduate

Immortalising the most notorious seduction in cinematic history, Anne Bancroft ’s partially-stockinged leg seduces everyone who gazes upon this classic poster. Except it isn’t actually Anne Bancroft’s pin: 46 years after release, model and Dallas star Linda Gray revealed that it was her leg on the poster, as Bancroft couldn’t make the shoot. Gray was paid $25 for the shot – not a bad leg-up.

48. Mean Streets

Martin Scorsese ’s breakthrough film has a groundbreaking poster to match, a gorgeous representation of the darker side of Little Italy, with the New York neighbourhood’s physical features – fire escapes, stoops, rooftop water towers – melded into graded-colour graphic, with Johnny Boy’s smoking gun doubling as a high-rise chimney.

47. Lord Of War

Nicolas Cage has the look of a Lord Kitchener in this ingeniously simple poster for arms trafficking drama Lord Of War . At first glance, it’s a straightforward headshot. Look closer, and it’s a headshot in more ways than one: every fragment of The Cage is made up of bullet and shell casings. It’s a meticulous mosaic of militarism, and it works like a treat.

46. Manhattan

Matt Needle’s design seems almost obvious now, such is this poster’s ubiquity and influence. But it’s brilliantly deliberate and thoughtfully constructed: the monochrome reflecting Woody Allen ’s black-and-white cinematography, the white negative space hinting at the wintry setting, the typography gently morphed into the skyline, and the famous bench shot of the Queensboro Bridge taking precedence.

45. Love In The Afternoon

An early design from the legendary Saul Bass, his trademark jaunty typography and bold emblematic graphics proving an ideal fit for Billy Wilder ’s screwball romantic comedy. The block of black is bold and imposing, but there’s something rather fun about the sense of impending movement in the blackout blind, ready to whizz upwards.

44. Fear And Loathing In Las Vegas

A Ralph Steadman poster for a film adaptation of a Hunter S. Thompson book seemed almost inevitable, given that the Welsh artist’s surreal, explosive style had accompanied Thompson’s gonzo missives for years. It is, as you might expect, a match made in acid-fuelled heaven, Johnny Depp ’s head warped into Dali-esque delirium.

43. The Thing

“The ultimate in alien horror”, reads the tagline, and this is the ultimate in Drew Struzan poster design – at least among his horror output. Perhaps what’s powerful is that the imagery does not directly reference any scene in the film. It’s pure Struzan: having been given the briefest of briefs, and knowing next-to-nothing about what the movie was about, he whipped it up in 24 hours, the paint still wet when the courier picked it up.

42. The Social Network

The Social Network wasn’t the first poster to start the Big Letters On A Face poster trend, but it was the most memorable, and effective. That giant tagline – written in Futura, David Fincher ’s favourite font – is a pithy summary of the film’s premise, while the film’s title, unusually set on the left hand side, cheekily parodies the Facebook logo and header. Like all of Fincher’s films, the marketing has his fingerprints all over it.

41. Breakfast At Tiffany's

Some posters do just as much work as the film in establishing an iconography and legend. This poster for Breakfast At Tiffany’s turned Audrey Hepburn from wide-eyed innocent into socialite aspiration, establishing Holly Golightly as the café society dream girl that predated the Manic Pixie variety by decades.

The obvious choice for this poster might have been to feature the film’s villain, ‘Ghostface’, or riff on Edvard Munch’s famous painting. Instead, the designer opts for an extreme close-up of Drew Barrymore ’s face, her eyes accentuated in glistening blue. Wes Craven lumped for the same trick Hitchcock used some 36 years earlier in Psycho , by putting his most famous star front-and-centre, only to kill her character off early in the film.

Recalling the trippy, dazzling lines of Saul Bass, this striking design for Duncan Jones ’ debut comes from London-based AllCity, a creative agency who have churned out some of the most interesting and innovative posters in recent years (see also: La La Land , The Death Of Stalin ). It’s minimal and pictorial, but still evokes the loneliness and paranoia that Sam Rockwell ’s character faces in his lunar exile.

38. Rosemary's Baby

Mia Farrow ’s face dominates this poster, her face in profile swamping a hazy green background, with the eerie silhouette of a pram set against it. Advertising creative and real-life Mad Man Stephen Frankfurt was responsible for the design, and a pioneer of making title sequences, posters, and trailers uniformly branded.

37. The Rocketeer

Disney’s much-underrated art deco period superhero flick earned this suitably art deco teaser design, setting the period and style in elegant fashion. Alas, as splendidly presented as it is, the poster was partially blamed for the film’s financial failures, as it neglected to feature any of the film’s stars (including then James Bond, Timothy Dalton ).

36. Apocalypse Now

Hypnotic, confusing, hallucinogenic, and mystifying, Apocalypse Now ’s poster matched the film in every sense. Marlon Brando ’s giant bald head fades into the shimmering sun like a mirage, while the choppers flying over have an unreal, bug-like quality. With this poster and others, Bob Peak became one of Hollywood’s most in-demand poster designers, second only to Drew Struzan.

35. Halloween

Proving that even the humble pumpkin can be considered menacing, Robert Gleason’s acrylic demonic nightmare is arguably unmatched among horror one-sheets. We only see Michael Myers’ hand here, but his presence is felt heavily – especially in that tagline, with the italicised ’He’ suggesting so much from so little.

34. Clockwork Orange

In 1973, Stanley Kubrick banned his own film from release, following a media storm of controversy, and for years this was the only image many audiences had of A Clockwork Orange . Philip Castle’s design presents its lead character almost hidden in a pyramid design, brandishing a knife, accompanied by an eye-popping tagline. Viddy well, little brother.

33. Metropolis

This shimmeringly beautiful work of art deco futurism – in the archaic ‘three-sheet’ format – comes from the hand of German graphic artist Heinz Schulz-Neudamm. Such is its fame that a rare original copy of the poster, thought to be one of only four in existence, recently sold for $1.2 million at auction.

32. Anatomy Of A Murder

Another of Saul Bass’ many masterpieces, matching his equally brilliant title sequence. The simplified, almost cartoonish shapes of a corpse sum up the themes and premise of Otto Preminger’s courtroom drama efficiently and effectively; the simple, unusual orange/yellow colour schemes makes it instantly recognisable.

31. The Exorcist

Prolific poster artist Bill Gold strikes, well, gold, with this instantly famous silhouette. Taken directly from the scene in the film where Max Von Sydow ’s Father Merrin first arrives to begin his work, it shows director William Friedkin ’s love for German Expression-esque mood lighting and gothic horror – and soon became a favourite in student hall bedrooms.

30. Forbidden Planet

For viewers of a certain generation, Robby The Robot was the entry point to a whole new world of science-fiction gods and monsters, and his futuristic visage takes centre stage in this nerd’s vision of paradise, a film – and poster – so influential that it now lends its name to the nerd mecca bookshop.

29. Gone With The Wind

Gone With The Wind ’s 1967 re-release poster bursts into your face with a blaze of Old Hollywood razzle-dazzle and Hays Code-bothering visual seduction. Hard to decide what is more eye-catching: Rhett Butler’s rakish open shirt, Vivien Leigh’s racy low-cut dress, the city of Atlanta filling the background with flames, or the blustery lack of humility (“the most magnificent picture ever!”).

28. Platoon

Two things make this poster for Oliver Stone ’s war movie classic great: the chunky-fonted logo, with military dog tags substituting two of the letters; and a bloodied Willem Dafoe , falling to his knees, arms outstretched to sky in despair as he finds himself abandoned and cornered by the Viet Cong. The poster cemented this powerful image as its most famous scene, and quickly became the source of parodies galore (see: Hot Shots Part Deux ).

27. Star Wars Episode I: The Phantom Menace

Perhaps it’s not as subtle as it thinks it is, but with the benefit of hindsight, this was the perfect teaser to the Star Wars prequel trilogy, essentially summarising the entire Tragedy of Anakin Skywalker in a single shadow. Now this is poster design!

26. The Driver

Walter Hill ’s underrated, influential classic ( Edgar Wright is a vocal fan ) earned itself this handsome poster, one of the more elegant examples of characters and elements fused into a single shape, with muted pastel colours and lovely illustrative flourishes (check out the detail on Bruce Dern ’s hair!).

25. Nymphomaniac

How on earth do you market a 325-minute, two-volume arthouse film which features unsimulated sex, sadomasochism, paedophilia, and dialogue like “I discovered my cunt at age 2”? This smartly minimal teaser poster is the answer, inferring so much from just a couple of parentheses. Punctuation has never been so erotic.

Hard to think of it now, but in the late ‘80s Batman was not widely considered the brooding, grizzled grumperhero we all know and love today. Among the wider public, the popular perception was Adam West’s campy ‘60s interpretation . This sleek, simple poster design did much of the heavy lifting in shattering that perception and introducing a new era of Bats.

23. Attack Of The 50ft Woman

File this one under ‘Posters Better Than The Film They Are Advertising’. For while the movie is forgettable ‘50s schlock, the poster is an enduring icon of a bygone era, with a gigantified Allison Hayes terrorising a freeway (and the sexual fantasies of teenage boys for generations to come). Prolific poster artist William Reynold Brown teased impressive special effects that the finished movie ultimately didn’t match – it mostly involved a giant prop hand.

22. Full Metal Jacket

Stanley Kubrick, an incorrigible perfectionist who liked to control everything from projection instructions to catering, also controlled every element of his film’s marketing – and that can be seen in this one-sheet. Kubrick's love of minimalism, white space, striking images and bold typefaces is all on display – plus, a tagline for the ages.

21. Blade Runner

From the pen of John Alvin – an illustrator who pops up more than once on this list – comes this classic, as beautiful as C-beams glittering in the dark near the Tannhäuser Gate. The smoke trail from Sean Young’s cigarette doffs a cap to the film’s noirish disposition, while the cityscape and Harrison Ford ’s future-gun hints at the cyberpunk future on offer.

20. The Truman Show

Photographic mosaics are ten-a-penny these days (with each penny made up of a thousand photos of pennies, presumably) but in the halcyon days of the late ‘90s, this poster was something of a design trailblazer. It also makes perfect sense for visually communicating Truman Burbank’s life, continuously-observed by reality TV cameras, in a single image.

19. Goodfellas

Ignore the fact that Robert De Niro receives top billing over Ray Liotta , the actual lead of the movie (which may have contributed to De Niro earning a Best Actor nomination at the Oscars, but nothing for Liotta). No matter: this is a beaut, the three mafioso looming in shadows over a victim like Italian-American phantoms. “I like this one: one dog goes one way, one dog goes another way. And this guy’s saying, ‘whaddya want from me?’”

18. Trainspotting

The best British film poster ever? Rare is the artwork that manages to sum up a national mood, a subculture, a generation and a film all at once. Trainspotting ’s iconic shade of orange, its character-defining lineup poses, and a swaggering quote from a certain film magazine ensured its place in history.

19. The People Vs Larry Flynt

The irony was not lost on director Milos Forman when The People Vs Larry Flynt – a film about censorship – had its poster censored. Perhaps it was the stance a mostly-nude Woody Harrelson took, in a crucifixion pose; perhaps it was his stars-and-stripes makeshift underwear; or perhaps it was that he was makeshift underwear for some giant, unseen woman. Whatever it was, this appropriately titillating design was as effective as it was scandalous to America’s more conservative corners.

16. The Usual Suspects

Legend has it that Bryan Singer and Christopher McQuarrie came up with the idea for The Usual Suspects by visualising a poster featuring “a bunch of criminals who meet in a police lineup”. Remarkably, that back-of-the-envelope vision came true, cementing the film’s most famous scene in a straightforwardly effective way. (Back in 1995, the posters became especially famous when vandals scrawled Keyser Soze’s true identity on billboards.)

15. Ghostbusters

The most iconic logo in cinema? Without doubt. In fact, if you were to line-up the most recognisable iconography on Earth, it would probably make the top 10 – just after the Christian Cross, the American flag and Superman’s chest insignia. The ‘no ghosts’ sign was created by the film’s art director, John DeCuir, but the idea behind it can be traced to Dan Aykroyd , who referred to it directly in the film’s screenplay.

14. Pulp Fiction

An image depicting a piece of pulp fiction itself (complete with cover creases, dog-eared corner and 10c price tag) this design not only captured the film’s effortless cool but became one of the most ubiquitous images of the mid-nineties. By 1994, you couldn’t enter student accommodation anywhere in the country without seeing Uma Thurman ’s smouldering gaze staring back at you.

13. Airplane

The most famous work of prolific multihyphenate Robert Grossman (a cartoonist, author, musician, filmmaker and painter), this knotted Boeing 707 is the perfect metaphor for the film’s particular brand of demented satire. The sly taglline “Thank God it’s only a motion picture!” is just icing on the cake.

12. The Godfather

The image of Marlon Brando’s Don Corleone is certainly striking — his black tuxedo fading into the all-black background – but arguably, the star of this poster is the instantly recognisable ‘puppeteer’ logo, lifted direct from Mario Puzo’s book cover, and designed by legendary graphic designer S. Neil Fujita. In simple black-and-white, it tells us everything we need to know.

11. Chinatown

Composed by Richard Amsel, the man behind poster art for The Sting , The Dark Crystal and Flash Gordon , this quintessentially noir artwork has Jack Nicholson ’s PI, J.J. Gittes, cast in shadow and framing Faye Dunaway’s disembodied face with a cloud of cigarette smoke ‘hair’.

10. Back To The Future

Superbly riffed-on in the posters to both sequels, this artwork from master of the medium Drew Struzan takes all of the film’s iconic objects (Marty’s threads, the DeLorean, the flaming tyre tracks) and combines them in a single, stunning image. Plus he’s looking at his watch. Because time travel.

9. American Beauty

Deliberately seductive, this nods to the film’s most memorable scene, when Kevin Spacey’s Lester Burnham has a petal-scattered fantasy about Mena Suvari’s schoolgirl, Angela. Interestingly, the navel on display does not, in fact, belong to Suvari but is the displaced midriff of Chloe Hunter. Fact: it (and she) also appears in Leprechaun 5: Leprechaun in The Hood .

8. The Silence of the Lambs

While also available in a red/Hannibal flavour, this blanched Jodie Foster image is the more famous and more powerful of the two. The death’s head moth takes the central focus, the skull on its back made up of nude female forms (lifted from Salvador Dali’s In Voluptas Mors ). You can draw all kinds of symbolism from the colours, detail and moth’s placement but beyond any of that, it’s a chilling image.

7. Jurassic Park

No frills here but then none were needed. The park’s logo against a simple black background and signed off with the inspired “An Adventure 65 Million Years In The Making.” Instantly identifiable and conveys all the information with simple elegance. Testament to the fact that sometimes less is more.

A poster that’s become synonymous with Ridley Scott ’s chilling space horror in spite of the fact it looks absolutely nothing like the Xenomorph eggs that appear in the final film. A simple visual — cracking egg, creepy glow, alien bioorganic texture on the floor — matched with the title’s sparse, mega-kerned typography, this is pregnant with foreboding and beautifully finished with the film’s chilling tagline. Not bad for a chicken egg caked in plaster.

Title sequence and poster maestro Saul Bass has created enough iconic imagery to populate a list in itself. But it’s this disorienting poster for Hitchcock’s Vertigo that is arguably his best. Using Lissajous spirals to recreate the film’s titular sensation, it is a simple, yet enormously effective image that works doubly well when translated to the film’s opening titles.

4. E.T. The Extra-Terrestrial

Based on Michelangelo's Sistine chapel ceiling piece, The Creation Of Adam, this reproduction has E.T.’s as the hand of God and Elliot’s (actually poster designer John Alvin’s daughter) as Adam. It’s an apt reflection of the film’s religious allegory and an indelible image for movie fans. It was replaced by Amblin’s now synonymous flying bike image in later posters but this first effort remains the most effective.

3. Star Wars

Aping the style of pulp artist Frank Frazetta, Tom Jung’s striking theatrical poster for Star Wars could easily be reimagined as one of Frazetta’s Conan images, with sword held aloft. Composed around a ‘good vs evil’ concept, Jung used the lightsaber’s unusual cross motif against the dark of Vader’s helmet to convey the film’s moral struggle. The title style here is a direct nod to the opening crawl.

2. Raiders Of The Lost Ark

Another Richard Amsel creation, this poster sums up the boyish adventure and excitement of Raiders perfectly. This poster actually accompanied the film’s re-issue in 1982, with Amsel’s poster for the original release being a simpler, less dynamic image of Indy with the whip slung over one shoulder.

The most iconic poster of all time. Jaws ’ terrifying image of the great white rising to devour its unwitting victim is a simple, yet inspired piece of visual marketing. From the ridiculously oversized beast, to its gaping maw filled with rows of jagged, uneven teeth, it’s is a viscerally terrifying image, one that struck fear into the hearts of swimmers everywhere and put people off beaches for a generation.

The 100 Greatest Movies Ever

The 50 Greatest TV Shows Ever

The 50 Best Movies On Netflix UK

The 50 Best TV Shows On Netflix UK

• Prediction Index
• Supporting Actress
• Supporting Actor
• International Film
• Animation & Docs
• Screenplays
• Intl Submissions. Pt 1
• Intl Submissions. Pt 2
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• Picture, Director, Screenplay
• Acting Categories
• Visual Categories
• Sound Categories
• Additional Acting Categories
• Character Specific Categories
• Memorable Scenes
• Register to Comment (Free)
• Dune Part Two
• Love Lies Bleeding
• The Holdovers
• Killers of the Flower Moon
• Mary & George
• RuPaul's Drag Race
• Intl Submissions Pt 1
• Intl Submissions Pt 2
• Intl Submissions Pt 3
• International Feature
• Animation and Docs
• Aural Categories
• Animated and Documentaries
• Foreign Film
• Foreign Submissions Pt 1
• Foreign Submissions Pt 2
• Foreign Submission Pt 3
• Actress 2020
• Supporting Actress 2020
• Supporting Actor 2020
• Screenplays 2020
• Visual Categories 2020
• Aural Categories 2020
• Animation and Docs 2020
• Intl Submissions. Pt 1 2020
• Intl Submissions. Pt 2 2020
• Intl Submissions. Pt 3 2020
• Animation & Documentary
• Foreign Submission Pt 1
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• Animated and Documentary
• Foreign Films
• Best Supporting Actress
• Best Supporting Actor
• Foreign Submission Pt 1 2015
• Foreign Submission Pt 2 2015
• Foreign Submission Pt 3 2015
• Best Picture
• Best Director 2014
• Best Actress 2014
• Best Actor 2014
• Supporting Actress 2014
• Supporting Actor 2014
• Screenplays 2014
• Visual Categories 2014
• Aural Categories 2014
• Animation & Docs 2014
• Foreign Film 2014
• Foreign Submission Pt 1 2014
• Foreign Submission Pt 2 2014
• Foreign Submission Pt 3 2014
• 2010 Oscar Index
• Foreign Submission (Pt 1)
• Foreign Submission (Pt 2)
• Foreign Submissions Pt. 1
• Foreign Submissions Pt. 2
• Picture, Director 2019
• Acting Categories 2019
• Visual Categories 2019
• Sound Categories 2019
• Additional Acting 2019
• Characters 2019
• Memorable Scenes 2019
• Acting (Additional Prizes)
• Extra Categories
• Best Scenes
• Traditional Acting Categories
• 1938 - Jezebel
• 1941 - Little Foxes, Great Lie
• 1943 -Song of Bernadette
• 1944 - Gaslight, Dragon Seed
• 1946 - Razors Edge, Duel
• 1947 - Crossfire
• 1948 - Johnny Belinda
• 1952 - Singin' in the Rain
• 1954 - On the Waterfront
• 1957 - Peyton Place
• 1960 - Psycho, Elmer Gantry
• 1963 - Tom Jones, Lilies
• 1964 - My Fair Lady, Zorba
• 1965 - Sound of Music, Othello
• 1968 - Rosemary's Baby
• 1970 - Five Easy Pieces
• 1972 -Poseidon Adventure
• 1973 - Exorcist, Paper Moon
• 1977 - Close Encounters
• 1979 - Kramer vs Kramer
• 1980 - Private Benjamin
• 1981 - Reds, On Golden Pond
• 1984 - Swing Shift
• 1985 - Color Purple, Agnes of
• 1987 - Moonstruck
• 1989 - Steel Magnolias
• 1991 - Cape Fear
• 1994 - Pulp Fiction
• 1995 - Sense & Sensibility
• 1998 - Shakespeare in Love
• 2000 - Almost Famous, Chocolat
• 2001 - Gosford Park, Iris
• 2002 - Chicago, Adaptation
• 2003 - Cold Mountain
• 2005 - Capote, Junebug
• 2016 - Fences, Moonlight
• 2017 - Lady Bird, I Tonya
• 2018 - Roma, If Beale Street
• 2020 - Minari, Mank, Hillbilly

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Year in Review: Best Movie Posters

by Nathaniel R

Movie posters may be an endangered artform since movies are seldom chosen from lobby posters or slapped on DVD covers anymore. Most people see only those interchangeable rectangles of movie star faces deployed by Netflix or Hulu in scroll bars. Nevertheless we still love the way posters at their best can brand or encapsulate a movie, become iconic pieces of art in their own right (rare), or cleverly tease or suggest the kind of experience you'll be having when you watch the movie.

Movie posters are often lazy so we want to cheer the good ones. Some titles that missed the following list but remain noteworthy are:   Benedetta  which arranged the text in an invisible crucifix frame, Annette , which memorably placed its romantics underneath a tidal wave, the teasers for The Matrix Resurrection and  Black Widow   which went minimalist and flat but impactful, Swan Song and The Eyes of Tammy Faye  for the way they presented the main character's face while also obscuring it emotionally, and the graphic whatsthis? boldness of both  Titane  and  Tragedy of Macbeth .

The best movie posters of the year after after the jump...

HONORABLE MENTION  SHIVA BABY With the highest ratio of laughs-per-minute from any movie this year, this scrappy indie comedy should be better known. The performances in this story of a mixed up bisexual girl whose highly compartmentalized life comes undone at a Jewish funeral are as tasty as its creamy cheeky poster. 

TEN BEST POSTERS OF THE YEAR

10 BARB AND STAR Barb and Sar released multiple posters and all of them were blissed-out colorful, like benevolent goofy hallucinations whether Barb and Star were floating in the sky (to show off their memorable culottes), sitting in seashells with their backs turned to us, or riding a giant shrimp.

09 FLEE Rather than a single image of our protagonist Amin, a gay Afghan who has built a new life in Denmark, this terrific documentary's poster presents a collective of humanity, vivid characters we only meet in brief glimpses of Amin's often lonely and transitory life. The illustrations are by Mikkel Sommer and Kenneth Ladekjaer.

08 PASSING Cleaving a poster in half, black to one side and white to the other, is an extremely worn design tactic. It's been around forever ( Scarface and American Gangster are just two famous examples). Passing gives it fresh life, though, by having a literal   reason to deploy it. Tessa Thompson and Ruth Negga play very different women, both living in the segregated black and white world of New York City in the 1920s. The crux of the drama involves Irene's reaction to Clare's decision to "pass" as white and live in a different world. 

07 ELECTRICAL LIFE OF LOUIS WAIN The weirdest iteration of the traditional biopic this year was this occasionally hallucinatory costume drama about an artist whose surreal cat paintings changed society (at least in terms of pet ownership). The official poster gives off a whiff of the film's druggy veneer, but we like this early tease best. 

06 THE   GREEN KNIGHT More posters like this one please. The Green Knight 's series of teasers never game the game away but instead sold creepy curious mood, presenting stark shadows of strange characters in quarter profile, imagery that felt pulled from iconography of some ancient, even alien, medieval time. 

05 RED ROCKET Like Licorice Pizza , it opts for a throwback style, opting for a painted poster recalling the promos of sex comedies of the 1980s that were flirtatious about their naughtiness, shamelessly performing faux innocence. Red Rocket is singular and fringe enough as a movie that the advertising could have really gone in hundreds of different directions. We're guessing they chose the best one. 

04 SPENCER In the movie this shot is actually Diana retching on a porcelain throne. The poster wisely retcons the vomit, inks out the context until its an empty void, and repurposes the collapse as a princess glamour shot. Glamour...  now with more existential despair!  

03 OLD The poster for M Night Shyamalan's latest supernatural flick is a high-concept bullseye. It's so satisfying in and of itself, camp in a scary way and vice versa, that the movie feels almost superfluous but enticing. 'Oh, someone made a movie adaptation of this poster?? I'm in!"

02  PARALLEL MOTHERS Yes the teaser poster for this same picture was quite memorable: just a nipple with one drop of milk hanging. Somehow the "official" poster even topped that.  The poster to Pedro's latest blesses us with Almodóvar red as background, plops Penelope Cruz's soulful face in the foreground center (where it always belongs), and suggests a close, similar, but not symbiotic relationship between two mothers in a way that makes you wonder about the women, the title, and its meaning, even as the linework hypnotizes. Brilliant stuff, even if our friend Tim did memorably quip " Yes, but it's not  Perpendicular Mothers , is it? "

01 FRENCH DISPATCH  Wes Anderson's films have been both praised and reviled for their presentional style, but one thing is for certain: they're ideal films for movie posters, flexible enough in subject and character to provide endless inspiration to designers. For his latest film, the first poster (seen above) and the first few follow up posters (before the also eye-catching "Character" posters) were mockups of the fictional magazine at the center, and the stories within it. How can you look at them and not want a subscription to the Liberty, Kansas Evening Sun.

Reader Comments (8)

The one for PASSING is really brilliant.

That Shiva Baby poster "quotes" the iconic album cover of Herb Alpert and the Tijuana Brass' Whipped Cream and Other Delights (1965).

Good choices. Adore the SPENCER one, taken from one of the film's most powerful moments. Also how the RED ROCKET one only makes sense once you've seen the movie.

As someone who collects movie posters through the years, I have a fondness for certain designs. So for this year's posters, I really like The Tragedy of Macbeth and also like the b&w version with Macbeth and Lady Macbeth in semi-embrace.

Among the posters above, I like Passing especially since the contextual pose doubles as a critique of racial lines and also as a semiotic play on image and meaning. Then there's Flee 's own inclusion of dispossessed people. Also Parallel Mothers ' visual field that toys with the perpendiculars and yes, parallels.

I don't know if its eligible because you're so particular with dates and shit but I love the face in L'événement.

The Passing one is so, so good. I also like the ones for The Green Knight and Red Rocket.

Parallel Mothers and The Green Knight ones are gorgeous, love Red Rocket and Flee as well.

Annette was not for me but I love that poster. Parallel Mothers wins the year for me, between #2 here and the nipple teaser!

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15 Sci-Fi Movie Posters With Quotes From Bad Reviews [Movies]

It’s common practice to put quotes from good reviews on movie posters to get us plebes to go see them. But what if the posters had quotes from the worst reviews? That’s where @AwfulReviews comes in, a brilliant Twitter feed that creates posters with quotes from one-star reviews on Amazon. Here are 15 of our favorites. Click below to embiggen:

[Via  Cheezburger  via  Awfulreviews ]

Which is your favorite?

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Fantastic four: get over it, julia garner plays a female silver surfer, the history of “the adventures of pluto nash” (2002).

Have to agree with some of those like Godzilla and Avatar.

All crackin' funny, but I liked the Gravity one best I think.

I couldn't stop laughing. There were many extremes. Some were insanely stupid, while others were overly intellectual.

But Godzilla WAS awful… The ketchup on a cheeseburger one is funny. You know, I've never liked that movie either, and I usually like Kurt Russell movies.

Those are great. I love it.

I like the twist that it's from average filmgoers rather than critics.

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15 Great Movie Quotes About Movies

Let's look at some of the greatest quotes about movies directly from some of the greatest movies of all time.

Who better to write interesting lines about filmmaking than the screenwriters themselves? No one else can offer as pithy, funny, and dangerously sharp a movie quote as the scriptwriter. There's also no one more capable at tanking a movie with trite, obnoxious dialogue and empty structure. They say write what you know, and no one knows more about the ins and outs of filmmaking than the writers and directors who work so hard to bring films to screens both big and small. So no one is more qualified to provide insightful commentary on the milieu. Let's look at some of the greatest quotes about movies directly from some of the greatest movies of all time.

15 "It's the actor's job to strive for one hundred percent effectiveness. Naturally, we never succeed, but it's the pursuit that's meaningful." — Once Upon a Time in Hollywood

Wisdom comes from an unlikely place for Rick Dalton in Once Upon a Time in Hollywood . The aging actor is in unfamiliar territory, playing the heavy in a Western with a beard covering a face that used to dominate movie posters. At lunch, he catches a moment alone with his costar in an upcoming scene, the 8-year-old Trudi. On paper, he should despise what she represents— the new generation of Brandos and Landaus and Burstyns, taking the roles that were once his bread and butter.

Her natural deflection of being a sweet little girl throws him off, and her precocious professionalism stirs him. It's a vulnerable, profound moment , and he learns from her, using those feelings to knock the scene off its socks an hour later.

14 "If it's not in frame, it doesn't exist!" — Shadow of the Vampire

It's the very definition of mise en scène , the French theatrical concept translated as "placing on stage." What it really means is everything that is seen in between the frames of the camera (and much that isn't). Lighting, lenses, camera angles, set design, background, costumes, wigs, makeup, props, animals, actors, all come together to make exactly what you see twenty-three times every second.

20 Iconic Quotes From Batman Movie Villains

In Shadow of the Vampire , the actual German director of Nosferatu , F.W. Murnau, is played by John Malkovich . Throughout his performance, he's largely portrayed as a hack, though there's honesty in his obsession. He speaks this line even as his star actor, who it turns out really is a vampire, murders his crew and drinks their blood; even then, his maniacal, uncompromising fixation to get the shot rings true.

13 "We don't have a permit. Run!" — Ed Wood

Tim Burton's most cerebral collaboration with Johnny Depp was 1994's Ed Wood . Shot in black and white and featuring winning performances from Sarah Jessica Parker, Bill Murray, and the most foul-mouthed you've ever seen Martin Landau as famed Dracula actor Bela Lugosi.

Ed Wood's typically low-budget fare necessitated a bare-bones approach to filmmaking. While shooting on a public street, he gets one take of one shot, and tells his crew to move on without any coverage. Good thing, too, because they spot the cops. Ed's reaction is the same as every student, artsy, or indie director who's ever gotten caught shooting without a permit — just ask Jon Favreau about that scene off the highway on the way back from Vegas in Swingers .

12 "Every movie costs $2,184." — Bowfinger

B-Movie filmmaker Bobby Bowfinger recognizes his shot, and he plans to take it. It's time to go all in on Chubby Rain , the sci-fi script written by his accountant, that will put him and his small stable of actors and crew on the map. Luckily, he's been preparing for just such a moment, revealing a metal box into which he's deposited $1 every week since he was ten years old.

"Movies cost millions of dollars to make."

"That's after gross net deduction profit percentage deferment ten percent of the nut. Cash? Every movie costs $2,184."

What's great is that when you get right down to it, he's not wrong. His number is off, but every major film is also a major bureaucracy, with union requirements and salary floors and quotes from stars. Some famously low-budget films that went on to be big include Enter the Dragon , The Blair Witch Project , and Napoleon Dynamite, and the careers of David Lynch, Robert Rodriguez, and Christopher Nolan were launched with independent financing and guerrilla filmmaking.

11 "I was just thinking what an interesting concept it is to eliminate the writer from the artistic process. If we could just get rid of these actors and directors, maybe we've got something here." — The Player

Genius Robert Altman's 90s satire of the movie bix The Player belongs on any list when discussing movies about movies. The irony of the story is baked in, as it would have made an incredible flick even without the shoehorned story of a murdered screenwriter plaguing producer Griffin Mill's conscience. The B-story revolves around the upstart, Larry Levy, vying for Griffin's job by introducing executive-led story development, nullifying the contribution of screenwriters in general.

Griffin's sarcastic response wins the boardroom duel, but the most excruciating part is that it's barely sarcastic. As events surrounding the 2023 WGA strikes have pointed out, certain producers won't be happy until the creative process has all the automation of a Henry Ford assembly line. How original.

10 "When you put your heart and genitals into something, it's always personal." — Átame! (Tie Me Up! Tie Me Down!)

While Pedro Almodóvar's best known film about film remains semi-autobiographical Dolor y Gloria (Pain and Glory), it's 1989's Tie Me Up! Tie Me Down! , about an actress kidnapped and held against her will by a disturbed drifter who fancies himself a gallant savior. The perversity of their relationship is the crux of the movie, but there's a playfulness surrounding the concepts of innocent and guilt throughout.

Not least of which belongs to Marina, the kidnapped actress, who until recently, had a serious drug problem and worked regularly in pornography. However, the director of her latest film, a sort of B-horror flick, is insulted when a journalist brings up Marina's past, nearly kicking her off set. While infatuated with his young actress himself, he still comes off as a paternal (almost grandfatherly) influence on her career, and speaks beguilingly of her art in the above quote, in an effort to comfort her. It's a good line.

9 "No, please don't kill me, Mr. Ghostface, I wanna be in the sequel!" — Scream

Quintessential slasher comedy Scream revitalized Wes Craven's career, and gave us the next generation of horror fans and scream queens for the 90s. Among them was Rose McGowan's Tatum, best friend to Neve Campbell's Sidney Prescott. With her blond wig and devil-may-care attitude surrounding serial killers, she's an early, if not obvious, victim of the film's Ghostface killer.

Alone in the garage grabbing beers, Tatum is trapped by a Ghostface, which she assumes to be a prank from one of her friends. The meta nature of the story gives birth to this line, perfectly summing up the gory allure of teen slasher flicks and calling them stupid all at once, like a snake eating its own tail. Spoiler alert: Tatum isn't in the sequel.

8 "Your time today is through, but you'll spend eternity with angels and ghosts." — Babylon

Jean Smart understands better than most what it is to have ups and downs in a movie career. Her work on standout HBO show Hacks has reinvigorated her popularity with superb drama and smart humor. In Babylon , Damian Chazelle's underappreciated tragedy , her buoyant honesty is what makes the moment so poignant.

"In a hundred years, when you and I are both long gone, any time someone throws a frame of yours through a sprocket, you'll be alive again. You see what that means? One day, every person on every film shot this year will be dead. And one day, all those films will be pulled from the vaults, and all their ghosts will dine together, adventure together, go to the jungle to war together. A child born in fifty years will stumble across your image, flickering on the screen, and feel he knows you, like a friend. Though you breathed your last before he breathed his first. You've been given a gift. Be grateful. Your time today is through, but you'll spend eternity with angels and ghosts."

She is the gossip peddler, the pop culture movie reviewer, the bizarrely over-plumed erudite with the Mid-Atlantic affectation. But at this moment, she's the grim reaper for Brad Pitt's Jack Conrad, who has been popular his whole career, but is unprepared for the precipitous and inevitable drop. Her words are conciliatory but sharp, and flay open his soul with the easy efficiency of light passing through a lens. He disagrees, but knows it in his heart.

It's not an easy truth, and his was among the first generation of actors to learn it; like many from the period, he places himself in the hands of fate.

7 "All of us here are writers. The pictures originated with us. They are our own ideas. But, they're owned by the Studio." — Hail, Caesar!

You said it, brother. Hail, Caesar! was from 2016, but set in the dark period of 1950s Hollywood, when actors and writers had their careers killed by blacklisting. The idea of owning another person's idea seems, at its most simple, incongruous. A story is what takes an idea and turns it into a picture; why wouldn't the screenwriter be an integral piece of its remuneration?

Because that's the way it is. And if you don't like it, then you're a Communist. Hail, Caesar! is hardly a political film, but it does raise interesting points about class battles within the film industry, and the last time those with money punished thinking, working people who asked questions.

6 "This is a business where the buyer gets nothing for his money but a memory. What he bought still belongs to the man who sold it. That's the real magic of the movies. And don't let anybody tell you different." —Mank

This quote and the one above it pretty much sum up the movie business to a tee. In Mank , it's spoken by none other than Louis B. Mayer, one of the founders of MGM Studios . There's a wool pulled over the eyes of every movie lover, as tangible as the darkness in a movie theater.

You're sold an experience (and some popcorn), but the dollar flows upward. Like our current gig economy, we never own anything. Even if you had a VHS or a DVD or, bless you, a laserdisk, the technology moves so fast that your media is obsolete by the time you spring for a new TV. Louis B. Mayer knew it, the streamers and the studios know it. Most of the time, it's just the viewers left sitting in the dark.

The Sopranos: Tony Soprano's 10 Best Quotes

5 "it'll be just like in the movies. we'll pretend to be someone else." — mulholland drive.

Director David Lynch loves simple things. Old-fashioned, storybook settings, blissfully naive characters, and weird postmodern narratives. The arc of a young actress wanting to become a starlet in Hollywood dates back to the origins of film itself, but Mulholland Drive subverts that expectation and does what it wants. A pipe dream of stardom and a murder mystery combine beauty with horror.

David Lynch's stories deal less with traditional plot progression, and more with the emotions of the viewer. When doe-eyed blond Betty says this quote, she's speaking not just as herself, but as every actress whose ever, say, wanted a part in a David Lynch film. Which is just as well, because we, the viewer, may be inside a fabrication of her mind the whole time, anyway. The lines are blurry in this peculiar but gripping romantic thriller.

4 "That's the point, that we all have stories." — Barton Fink

The send up of the scene aren't Bart's words, but who they're spoken to. While staying indefinitely in a cheap Hollywood hotel, 1940s Broadway playwright Barton Fink , played by John Turturro, is roomed next door to Charlie Meadows (John Goodman), who sells insurance. After sharing a drink, Bart says he wants to write about working class people.

"That's the point, that we all have stories. The hopes and dreams of the common man are as noble as those of any king. The stuff of life. Why shouldn't it be the stuff of theater? I mean, god****it, why should that be such a hard pill to swallow? Don't call it New Theater, Charlie. Call it Real Theater. Call it Our Theater."

He condescendingly points to Charlie as the common man, swearing that he has stories to tell. But anytime Charlie tries to tell them, Bart interrupts in another insufferable, existentialist oratory, as guilty of the high-minded but hollow dialogue as the guys he's trash-talking.

3 "What's an Associate Producer credit?" "It's what you give to your secretary instead of a raise." — State and Main

David Mamet was already an experienced screenwriter and playwright by the time he wrote State and Main. A lot of it probably happened to him. The movie-within-a-movie is called The Old Mill , and they're shooting on location in a small Vermont town which, of course, doesn't have an old mill. Everybody is an old hand, trying to help solve the workaday problems encountered on a movie set; except for playwright Philip Seymour Hoffman, for whom this is the first time working a big budget movie. After hearing the director joke about giving the horse wrangler an Associate Producer credit, he pulls aside a grip and asks the above question.

For all of us not working the movies, it answered a longstanding question about all those names we see during the opening credits. For those who do know, it rings true except for one part— they call them assistants now.

2 "You really know Warren Beatty?" "Yes I do. I took a leak next to him once at the Golden Globes. Taco?" — Argo

Argo is a story about lying. In Los Angeles and Tehran, lies save lives.

In order to protect his cover story to extricate refugee State Department employees from almost certain death during the Iran hostage crisis, CIA agent Tony Mendez recruits legendary producer Lester Siegel to help him make a fake movie. In a meeting with the script agent, Les' offer is rejected, and he's insulted to his face.

Spy master Tony side-eyes him, wondering if he put stock in the right man, but Les proves it to him. He concocts a story about sharing a drink with Warren Beatty, the biggest star of the era , at Trader Vic's (a famous Hollywood haunt), and getting the inside scoop about a work stoppage at MGM, knocking the agent's argument down to size and winning back the leverage. Les and Tony walk out with a deal and a script, but Tony just has to know.

1 "I am big. It's the pictures that got small." — Sunset Blvd.

Sunset Blvd. is the greatest American movie ever made about filmmaking. The cyclical, ephemeral tragedy of moviestardom, even in its adolescence in 1950, is as real as the changing of the seasons. Of course, there are no seasons in Los Angeles, so change is a big surprise to everyone in Sunset Blvd . There's no more tragic example of that than Norma Desmond, out of the game for decades, deluded beyond reason, certain that her career in pictures will continue.

"You're Norma Desmond. You used to be in silent pictures. You used to be big."

"I am big. It's the pictures that got small."

The fact this it was played by an aging Gloria Swanson, herself a silent film star with a lot of similarities to the character, gave the film a twisted metatheatricality, which oddly enough, imprints the film with so much more realism— and accuracy . There's a lot of quotable material from this movie, but this one sums it all up best.

50 of the funniest, most searing movie reviews ever written

• Movie reviewers have had some pretty scathing takes on films throughout the years. 
• One reviewer referred to a film as like "Grease: The Next Generation" acted out by the food-court staff at SeaWorld.
• Another riffed "Some movies leave a bad taste in the mouth. This one causes full-on halitosis."

For many viewers, a movie can simply exist as something to fill a void of upwards of 90 minutes. Film critics, who spend their lives scribbling notes in dark theaters, ask for a little more.

" I have a colleague who describes his job as 'covering the national dream beat,' because if you pay attention to the movies they will tell you what people desire and fear in their deepest secrets," the late Roger Ebert wrote in 1992 . "At least, the good ones will. That's why we go, hoping to be touched in those secret places. Movies are hardly ever about what they seem to be about. Look at a movie that a lot of people love, and you will find something profound, no matter how silly the film may seem."

Sometimes the best thing to come out of a movie is a blistering review. INSIDER rounded up 50 of the funniest, most searing movie reviews ever written.

Critics said that heartbreak was preferable to watching "Valentine's Day."

"'Valentine's Day' is being marketed as a Date Movie. I think it's more of a First-Date Movie. If your date likes it, do not date that person again. And if you like it, there may not be a second date." —   Roger Ebert , Chicago Sun-Times.

Critics eviscerated "Twilight," but the movie still made more than $390 million at the box office.

"I've had mosquito bites that were more passionate than this undead, unrequited, and altogether unfun pseudo-romantic riff on 'Romeo and Juliet.'" — Marc Salov , The Austin Chronicle.  

"The Other Woman" wasn't a hit with critics.

"I know what you're thinking ... 'Enough beating around the bush. Just tell us whether you liked it.' Consider this, which I will say in terms this movie would understand, if you were on an airplane, 'The Other Woman'   might not be preferable to simply staring into your empty airsick bag, but it has enough nicely executed physical comedy that in the event you become ill, it is definitely preferable to staring into your occupied airsick bag." — Linda Holmes , NPR.

"The Emoji Movie" has an 8% fresh rating on Rotten Tomatoes.

"This is a movie about how words aren't cool, but you can still expect a girl to fall at your feet in response to mild wordplay. Please keep up. Or throw whatever device you’re reading this on into the ocean. Send me a postcard ... tell me what it’s like to be free." — Kaitlyn Tiffany and Lizzie Plaugic , The Verge.

Netflix is making a sequel to "Bright" despite the fact it was totally panned by critics.

"While I had the misfortune to see 'Bright' in a theater, most people will simply press 'play' out of curiosity on their Roku remote. I am willing to concede that this might elevate the experience a little ... the ability to take a quick trip to the kitchen or restroom after shouting 'no, don't pause it' to your partner on the couch will be liberating." — Jordan Hoffman , Vanity Fair.

"Battlefield Earth" was a box-office bust and a critical failure.

"'Battlefield Earth' saves its scariest moment for the end: a virtual guarantee that there will be a sequel." — Desson Howe , The Washington Post.

The basic plot of "Milk Money" perplexed critics.

Roger Ebert imagined what the conversation between studio executives would have looked like when they greenlit the movie:

"Studio Executive A: Kind of like 'Working Girl Turns a Trick?'

"Studio Executive B: Cuter than that. We start with three 12-year-old boys. They're going crazy because they've never seen a naked woman.

"Studio Executive A: Whatsamatter? They poor? Don't they have cable?"

Even fans of the HBO series prefer to pretend "Sex and the City 2" doesn't exist, according to critics.

"When viewed as a rom-com, 'Sex and the City 2' is terrible and crappy and a horrific inversion of everything the show once was. But when viewed as a science fiction film, 'SATC2' is subversive, stylish and chilling. Like The Island from 'Lost,' we may never know The City's true identity — Is it a VR computer program? A malevolent interdimensional god? Satan?" — Cyriaque Lamar , i09.

Making fun of "Gigli" became a national past-time.

"Even making a little game of it, and trying to pinpoint the exact moment when Ben Affleck and Jennifer Lopez fell in love, stops being fun after a while. Perhaps it's when he says, in an attempt to seduce her, 'I'm the bull, you're the cow.' Or when she beckons him into foreplay by lying back in bed and purring, 'Gobble, gobble' — which could forever change the way you view your Thanksgiving turkey." — Christy Lemire , The Associated Press.

"The Adventures of Pluto Nash" wasn't a hit with critics.

"It's good to know that, if we have to leave Earth someday, we won't have to go without our kitsch. Forensics experts will be digging through the rubble of this fiasco for a long time, trying to reconstruct the accident. How did so many lines fall flat? Why were the action scenes so corny and unconvincing? Who put the stink on this?" — Jack Mathews , New York Daily News.

"Superbabies: Baby Geniuses 2" has a 2% fresh rating on Rotten Tomatoes.

" At its best/worst, 'Superbabies' hallucinatory idiocy inspires open-mouthed horror at what happens when an ill-conceived premise leads to even more jaw-droppingly misguided execution." — Nathan Rabin , AV Club.

Critics thought "Gotti" was so bad it was almost criminal.

"I'd rather wake up next to a severed horse head than ever watch 'Gotti' again. The worst movie of the year so far, the long-awaited biopic about the Gambino crime boss' rise from made man to top dog took four directors, 44 producers and eight years to make. It shows. The finished product belongs in a cement bucket at the bottom of the river." — Johnny Oleksinski , New York Post.

Critics got personal with their contempt for "Jaws: The Revenge."

"In the just-released 'Jaws: The Revenge' the shark's main course is intended to be Roy Scheider's widow, Ellen Brody, a frumpy middle-aged woman played by boring actress Lorraine Gary, who happens to be married to the president of MCA Universal, which finances the 'Jaws' films and which explains her lead role. Let's put it this way: When you see and hear the nasal Lorraine Gary on screen you want the shark to eat her." — Gene Siskel , Chicago Tribune.

"One Missed Call" didn't warrant anyone's attention, according to critics.

"The kid in front of me spent most of the movie playing Tetris on his phone. I didn't care enough about the movie to ask him to stop, or to find a cooler game." — Wesley Morris , The Boston Globe.

The critical response to "Jack Frost" was icy.

"With emotions as sincere as the soap flake snow on its sets, 'Jack Frost' goes on to show how much fun it is to have a snowman as a loving, though dead, father … As one more Hollywood effort to look on the sunny side of fatality, 'Jack Frost' is so sugarcoated that it makes other recent efforts in this genre look blisteringly honest." — Janet Maslin , The New York Times.

"The Snowman" left critics cold.

"'The Snowman' is like if aliens studied humanity and tried to make their own movie in an attempt to communicate with us. This simulacrum contains all the requisite pieces of a movie, but humanity got lost in translation." — Barbara VanDenburgh , The Arizona Republic.

Critics saw "Batman & Robin" as more of a cash-grab than a movie.

" The people who made this movie — which, as always, is set up for a sequel — will be laughing all the way to the bank. But isn't there someone in that bank who can lock them all inside a safety-deposit vault and throw away the key?" — Peter Rainer , The Phoenix New Times.

"Cool World" was almost universally hated by critics.

"The plot of Michael Grais' and Mark Victor's screenplay is even more nonsensical than it needs to be, revolving around frequent unmotivated trips between parallel cartoon and live-action universes, and around the question of whether cartoon women will have sex with human men." — Janet Maslin , The New York Times.

"Titanic" won 11 Academy Awards, but critics thought it took its sweet time getting to the point.

"'Titanic' is a good, often stunning movie caught in a three-and-a-half hour drift. As we marvel at the physical spectacle of the Titanic's last few hours, we're left staggeringly untouched by the people facing their last moments. This movie should have blown us out of the water. Instead, we catch ourselves occasionally thinking the unpardonable thought: 'OK, sink already.'" — Desson Howe , The Washington Post.

"Howard The Duck" was a one-note movie that prompted critics to question for whom exactly the movie was made.

"The story has no center; the duck is not likable, and the costly, overwrought, laser-filled special effects that conclude the movie are less impressive than a sparkler on a birthday cake. George 'Star Wars' Lucas supervised the production of this film, and maybe it's time he went back to making low-budget films like his best picture, 'American Graffiti.'" — Gene Siskel , The Chicago Tribune.

"Catwoman" is considered by critics to be one of the worst superhero movies ever made.

"The film could have turned out worse, but only via the addition of a Tom Green cameo, or an accident in which the actors caught on fire." — Keith Phipps , The AV Club

Critics thought "Mac and Me" was a discount version of "ET: The Extraterrestrial."

"'Mac and Me,' which opened yesterday at the Guild and other theaters, has a final police shootout and a fiery explosion in which Eric is the victim. When a doctor announced that Eric was gone, a small boy behind me said, 'He ain't dead,' with all the calm assurance of an experienced moviegoer who knows perfectly well that if E.T. came back, so would Eric. Cloning is a dangerous thing." — Caryn James , The New York Times.

Only a sucker would bother watching "Sucker Punch" after reading reviews.

"In the end, though the metaphor of mental institution as battleground is an interesting one to explore, that is not the analysis at the heart of this movie. Nope, 'Sucker Punch' is a two-hour $82 million fetish film examining how hot sad schoolgirls look when holding weapons. Snyder should have just made a porn movie — it might have been better, and it definitely would have been cheaper and more honest." — Dodai Stewart , Jezebel.

"Movie 43" prompted devastating reviews.

"It's as if 'Movie 43' was itself a feature-length f--- you to Hollywood, a movie made simply to show how bad a movie a studio could be induced to make and actors could be persuaded to act in." — Richard Brody , The New Yorker.

The best thing critics could say about "Fifty Shades Freed" was that the trilogy was finally over.

"Universal has had some fun with its marketing campaign, using the tag-line, 'Don't miss the climax.' It's a shame, though, that the posters exhibit considerably more ingenuity than the film itself." — Brian Lowery , CNN.

"A Christmas Prince" falls squarely in the category of "so bad it's good."

"It's a Netflix original movie, but it feels like a violation of nature that it somehow isn't from Lifetime or the Hallmark Channel. Nathan Atkins is credited with the screenplay, but this film is such a perfect amalgam of established tropes that I am not entirely convinced that isn't a pseudonym to keep us from discovering that Netflix has created the artificial-intelligence technology to generate a script using auto-complete." — Dana Schwartz , Entertainment Weekly.

"A Christmas Prince: The Royal Wedding" seemed to revel in shoddiness.

"It plays like a piece of Prince Harry and Duchess Meghan fan fiction, written by a child who actually doesn't know who they are but has watched the 'Princess Diaries' films." — Carly Mallenbaum , USA Today.

Critics thought "Batman v Superman: Dawn of Justice" was far too depressing for a superhero movie.

"An even less charitable way to put it is that a clearly excited 7- or 8-year-old kid sitting in front of me busted out crying and had to be whisked out of the theater by his father within the first five minutes. Perhaps he was unnerved by the harsh, operatic violence of Bruce Wayne's parents getting murdered — the mom's pearls get tangled around the gun, somehow, which allows for some very tight and poignant slow motion — or maybe he was offended by the notion that a 2016 Batman movie felt it necessary to depict Bruce Wayne's parents getting murdered. Either way, this kid bounced." — Rob Harvilla , Deadspin.

Critics thought "Transformers: The Last Knight" was simply too incoherent to describe.

"I'll admit, I've been dreading the thought of trying to at all explain the plot of this movie — even in broad, simple terms. I honestly had anxiety dreams last night about this moment. It's like staring at a projected kaleidoscope for two and a half hours and then trying to tell someone about the plot." — Mike Ryan , Uproxx.

Many thought "The Brown Bunny" was tedious and only remembered for its inclusion of one explicit scene.

"It's not really a movie. I suppose it's what could be called a recorded behavior. It simply reproduces, with some crude fidelity, the hapless anguish of a grieving man as he copes with his loss. It has no characters, it has no conflict, it has nothing that could be called a plot. It offers no reason to watch it — that is, no reason within the picture." — Stephen Hunter , The Washington Post.

Critics were thoroughly disgusted by "The Human Centipede," but they were also bored by it.

"This is one of those movies where victims repeatedly have opportunities to escape but choose not to, guaranteeing still more grotesque degradation, full of gore, torture, and sexual humiliation — and contains not an iota of wit or intelligence to justify any of it." — Michael Ordoña , The Los Angeles Times.

"Avatar" is still the highest grossing movie of all time, but not everyone was a fan.

"' Avatar' isn't about actors or characters or even about story; it's about special effects, which is fine as far as it goes. But for a movie that stresses how important it is for us to stay connected with nature, to keep our ponytails plugged into the life force, 'Avatar' is peculiarly bloodless. It's a remote-control movie experience, a high-tech 'wish you were here' scribbled on a very expensive postcard. You don't have to be fully present to experience 'Avatar'; all you have to do is show up." — Stephanie Zacharek , Salon.

Critics thought "I Know Who Killed Me" was embarrassing for everyone involved.

"Pretentious and inane, 'I Know Who Killed Me' arouses unexpected sympathy for its embattled star. 'Should we populate the movie with competent, strong performances, or were we looking for stars?' asks the producer, Frank Mancuso Jr., in the film's production notes. Out of the mouths of producers." — Jeannette Catsoulis , The New York Times.

Critics thought there was nothing redeeming about "Sorority Boys."

"I'm curious about who would go to see this movie. Obviously moviegoers with a low opinion of their own taste. It's so obviously what it is that you would require a positive desire to throw away money in order to lose two hours of your life. 'Sorority Boys' will be the worst movie playing in any multiplex in America this weekend, and, yes, I realize 'Crossroads' is still out there." — Roger Ebert , The Chicago Sun-Times.

"Forrest Gump" won multiple Academy Awards, but it still prompted some biting reviews.

"With two decades of perspective on 'Forrest Gump's triumph, you get the sense that '90s audiences were relieved to see a film that said it was OK — even honorable — to ignore all the bad stuff about war. So, too, was the Motion Picture Academy, which 12 months after lauding 'Schindler's List'   decided, 'Screw it, let's give the awards to the movie that sells cookbooks.' — Amy Nicholson , LA Weekly.

Critics absolutely hated "Life Itself."

"'Life Itself' thinks you're stupid. Or, if not stupid, unable to understand how a movie should work. It's a movie made for people who can't be trusted to understand any storytelling unless it's not just spoon-fed but ladled on, piled high, and explained via montage and voiceover" — Kate Erbland , IndieWire.

"Ridiculous 6" felt intentionally offensive.

"There's the broad racism and misogyny of the piece. After the controversial walk-offs, Netflix claimed that this was 'satire.' It's not. There's nothing satirical about Sandler's bad Native American accent, which totally comes and goes, by the way, or Schneider's Hispanic caricature. Saying that this is satire is like the drunk guy at the bar telling you how many black friends he has after telling a racist joke. Don't fall for it." — Brian Tallerico , RogerEbert.com.

"The Village" felt like a waste of time to some.

" [M. Night Shyamalan] directs the material as if he'd written it (which he did), and not a single friend dared tell him the truth." — Mick LaSalle , SFGate.

The extreme level of product placement in "Crossroads" was an issue for critics.

"It turns out that 'Crossroads' is not a music video, not yet a movie, but more like an extended-play advertisement for the Product that is Britney." — Ann Hornaday, The Washington Post.

Critics thought "Grown Ups" was a lazy attempt at comedy.

"The movie is symptomatic of a social attitude that might be called the security of incompetence. There's something reassuring about a bad movie that doesn't ask you to think or feel or even pay attention ... we can all be happy D-minus students huddled together in communal self-disgust in a D-minus world." — Stephen Holden , The New York Times.

Critics thought "Grown Ups 2" was so bad that it made them appreciate the first movie.

"In 'Grown Ups 2,' which is set on the last day of school, our heroes are now all living in the same small town together, and everybody's pretty happy, so there's little to motivate the action. It makes the first movie look like 'The Maltese Falcon.'" — Bilge Ebiri , Vulture.

Some thought "Suburbicon" was too smug for its own good.

"You absolutely can fault [George Clooney] for wrongheadedness in making a movie that condemns racism, and specifically segregation in the postwar housing boom, albeit in the most broad, perfunctory, awareness-ribbon-wearing way while barely allowing its black characters to speak. 'Suburbicon' might be the biggest embarrassment to pious Hollywood liberalism since 'Crash' won best picture in 2006." — Chris Klimek , NPR.

"Mother!" may not have been enjoyable, but it certainly was memorable.

"I admired the camerawork, the wide-angle close-ups of flaring nostrils, and the pandemonium of the crowd scenes in the second half of the film when it goes haywire and insanity reign. It's an odd sensation to still remember moments of technical brilliance in a movie I never want to see again." — Rex Reed , The Observer.

Some thought "Freddy Got Fingered" was an embarrassment for everyone involved.

" This movie doesn't scrape the bottom of the barrel. This movie isn't the bottom of the barrel. This movie isn't below the bottom of the barrel. This movie doesn't deserve to be mentioned in the same sentence with barrels." — Roger Ebert , Chicago Sun-Times.

Critics thought there just wasn't anything funny about "Joe Dirt."

"Why do American audiences accept the stance that silly movies have to be terrible by definition? There's nothing enjoyable about 'Joe Dirt.' Absolutely nothing. Spade's generic nonperformance is the centerpiece of a very wobbly story, and he simply isn't enough of an actor to keep you interested." — Paul Tatara , CNN.

Critics thought "Fantastic Four" was the opposite of fantastic.

"My notebook usually remains near my lap, but at this movie, it made involuntary trips over my mouth to cover all of my gasping. The entire experience is shameful — for us, for the filmmakers, for whoever at the studio had the job of creating the ads, in which the cast appear to be starring in hostage posters." — Wesley Morris , Grantland.

"From Justin to Kelly" was embarrassingly amateur, according to critics.

"How bad is 'From Justin to Kelly?' Set in Miami during spring break, it's like 'Grease: The Next Generation' acted out by the food-court staff at SeaWorld." — Owen Gleiberman , Entertainment Weekly.

"National Lampoon's Gold Diggers" has a 0% fresh rating on Rotten Tomatoes.

"Just how repellent is 'National Lampoon's Gold Diggers?' So stupefyingly hideous that after watching it, you'll need to bathe in 10 gallons of disinfectant, get a full-body scrub and shampoo with vinegar to remove the scummy residue that remains. Some movies leave a bad taste in the mouth. This one causes full-on halitosis." — Jen Chaney , The Washington Post.

"Venom" was a tonally-uneven, muddled mess, according to most critics.

"For all of its cult potential, and my God, is this film rife with it, it is 'Venom's' insidious political intonations, which were entirely avoidable, that become the least palatable aspect of the film. And this is a movie where you see Tom Hardy eat out of a garbage can." — Sarah Tai-Black , The Globe and Mail.

"North" almost universally disliked by critics and prompted one of Roger Ebert's movie memorable reviews.

"' North' is one of the most unpleasant, contrived, artificial, cloying experiences I've had at the movies. To call it manipulative would be inaccurate; it has an ambition to manipulate, but fails … I hated this movie. Hated hated hated hated hated this movie. Hated it. Hated every simpering stupid vacant audience-insulting moment of it. Hated the sensibility that thought anyone would like it. Hated the implied insult to the audience by its belief that anyone would be entertained by it." — Roger Ebert , Chicago Sun-Times.

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• Movie Culture

The 19 Best Movie Posters of All Time (That Are Iconic and Famous)

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One way to appreciate a movie is to appreciate its movie poster. These one-sheet ads have long been a marketing tactic to promote movies, as all you need is a tagline, a marquee of cast members, a credits lineup, the MPAA rating, and the official movie logo.

But just as there's a spectrum of movies from terrible to iconic, and just as there's a spectrum of quality in movie trailers, the design of a great movie poster goes beyond mere marketing.

A legendary movie poster can be a work of art, becoming so recognizable and historically important that it becomes a pop culture icon itself. These are the kinds of movie posters worth hanging up in your room or office.

Here are our picks for the greatest movie posters of all time, why they're so great, and the designers behind them.

19. Apocalypse Now (1979)

Directed by Francis Ford Coppola

Starring Martin Sheen, Marlon Brando, Robert Duvall

Drama, Mystery, War (2h 27m)

8.4 on IMDb — 98% on RT

Apocalypse Now is a bleak portrait of the Vietnam War and the entire film is summed up by this mesmerizing poster.

Of all the standout elements in this movie poster—the bleeding moon, the helicopter silhouettes, the engulfing fire—the most remarkable is the head of Marlon Brando's Colonel Walter Kurtz hovering over the war scenery (with Martin Sheen lurking behind).

Designer Bob Peak knows how to highlight the most relevant aspects of the film. The prominence of Brando's face subtly asks you to pay attention to his character as the rogue colonel Kurtz who embodied the madness of war.

18. Airplane! (1980)

Directed by Jim Abrahams, David Zucker, and Jerry Zucker

Starring Robert Hays, Julie Hagerty, Leslie Nielsen

Comedy (1h 28m)

7.7 on IMDb — 97% on RT

It only makes sense that a groundbreaking parody of disaster movies would also have a groundbreaking twist (literally!) in its marketing.

Airplane! seizes an opportunity with its iconic image of a commercial plane tied in a knot, implying all the twists and turns that this spoof has in store. Illustrator Robert Grossman even snuck in an in-joke by calling the tied plane a "knot's landing".

Plus, the taglines are equally hilarious. ("Thank God it's only a motion picture!") Only a movie that executes so brilliantly on its sudden fourth-wall breaks could pull off a movie poster like this one.

17. Superman (1978)

Directed by Richard Donner

Starring Christopher Reeve, Margot Kidder, Gene Hackman

Action, Adventure, Sci-Fi (2h 23m)

7.4 on IMDb — 94% on RT

Illustrator Bob Peak specialized in retro posters that highlighted a given movie's most recognizable emblem.

For his take on Superman , he prominently depicted a colorful swoosh up in the clouds with Superman's famous "S" logo over it. No need for the presence of Christopher Reeve's Superman—a swoosh and a logo were all that were needed to make audiences believe a man could fly.

Just look at the tagline. Those words evoke the mythos of Superman, and it was impactful for its time when people had yet to see the potential of superhero movies. This poster truly defined Superman.

16. The Breakfast Club (1985)

Directed by John Hughes

Starring Emilio Estevez, Judd Nelson, Molly Ringwald

Comedy, Drama (1h 37m)

7.8 on IMDb — 89% on RT

Annie Leibovitz is one of the most prominent photographers of her time, known for her famous celebrity portraits (like that of Yoko Ono and a bare John Lennon).

Leibovitz was the perfect artist needed to bring the poster for The Breakfast Club to life—and it became truly iconic.

Just from their poses alone, you can tell which character archetypes each of the five teens are meant to be. Authenticity is a key theme in The Breakfast Club , and that's highlighted here by them looking directly at the camera, making them feel relatable.

Place them over a pale pink backdrop with a memorable tagline and you've got one of the most iconic movie posters of all time.

15. The Thing (1982)

Directed by John Carpenter

Starring Kurt Russell, Wilford Brimley, Keith David

Horror, Mystery, Sci-Fi (1h 49m)

8.2 on IMDb — 85% on RT

Drew Struzan is an icon of movie poster design. Having illustrated more than 150 movie posters, he's had his hand on many recognizable posters, including Blade Runner , ET the Extra-Terrestrial , the Indiana Jones movies, and the Star Wars films.

One of his most underrated works is the movie poster for John Carpenter's The Thing . Two elements stand out: the tagline and the dark-hooded figure with its face emitting light beams.

"The ultimate in alien terror" sets the tone for what type of horror to expect, and the mysterious figure gives you a vague and mysterious idea about what "the thing" could be.

14. Jurassic Park (1993)

Directed by Steven Spielberg

Starring Sam Neill, Laura Dern, Jeff Goldblum

Action, Adventure, Sci-Fi (2h 7m)

8.2 on IMDb — 91% on RT

In perhaps the simplest design on this list, Jurassic Park's movie poster gives just enough information as to what to expect in what would go on to become one of Steven Spielberg's biggest blockbusters.

First, there's the logo, which is so iconic and popular that it's been used on its own for many years, particularly the T-rex skeleton head iconography that teases the dinosaur threats of the movie.

There's also the caption: "An adventure 65 million years in the making." It's a clever hint at the adventure that awaits when you're finally face-to-face with creatures from 65 million years ago. It's simple but effective, and later movies in the Jurassic Park franchise followed suit.

13. The Exorcist (1973)

Directed by William Friedkin

Starring Ellen Burstyn, Max von Sydow, Linda Blair

Horror (2h 2m)

8.1 on IMDb — 84% on RT

To promote one of the scariest movies of all time, its movie poster needs to evoke subtle hints of suspense beneath its dark exterior. That's the impression you get from the poster for The Exorcist .

Designed by Bill Gold, this poster send all kinds of chills down your spine. The tagline may offer some information, but the shadowy imagery of Max von Sydow's Father Lankester looking at the lit MacNeil house is more than enough to give you an idea of the horror waiting.

12. The Social Network (2010)

Directed by David Fincher

Starring Jesse Eisenberg, Andrew Garfield, Justin Timberlake

Biography, Drama (2h)

7.8 on IMDb — 96% on RT

The movie poster for The Social Network hits you over the head with its enlarged tagline overlaid on Mark Zuckerberg's face: "You don't get to 500 million friends without making a few enemies." It sums up the bleak depiction of Facebook's rocky beginnings.

This poster was designed by Neil Kellerhouse, who worked for David Fincher in Gone Girl and Mindhunter . He incorporated the aesthetics of an Internet browser, like the tab bar and Facebook's notification bar. It makes for one great movie poster that other biopics have tried to copy.

11. Chinatown (1974)

Directed by Roman Polanski

Starring Jack Nicholson, Faye Dunaway, John Huston

Drama, Mystery, Thriller (2h 10m)

8.2 on IMDb — 99% on RT

The neo-noir film Chinatown oozes with mystery, and that secrecy is front and center in its magnificent movie poster.

Created by Jim Pearsall, this poster is inspired by the 1890s billboards for JOB cigarette rolling papers. The green smoke coming from Jake Gittes' cigarette is the highlight that catches your attention.

The poster also has an eye-catching typeface that's a cross between Westerner and old noir. It adds to the allure for a movie that has no-holds-barred violence and stirring tragedy.

10. Back to the Future (1985)

Directed by Robert Zemeckis

Starring Michael J. Fox, Christopher Lloyd, Lea Thompson

Adventure, Comedy, Sci-Fi (1h 56m)

8.5 on IMDb — 93% on RT

Drew Struzan's movie posters make for great movie theater memorabilia no matter the era. His take on Back to the Future is no exception. Simple as it is, it places its iconic elements as the focus for its marketing.

First, there's Michael J. Fox's Marty McFly as the character to keep an eye on. Second, there's the iconic DeLorean after its fiery skid from time travel. Finally, there's the sleek and inventive logo.

All elements combined, we get a simple but timeless blockbuster ad that remains one of the best movie posters of all time.

9. Scarface (1983)

Directed by Brian De Palma

Starring Al Pacino, Michelle Pfeiffer, Steven Bauer

Crime, Drama (2h 50m)

8.3 on IMDb — 79% on RT

Not everyone knows the name Tony Montana nor his colorful life. That's why Scarface's movie poster speaks it all for us.

Where to start on this dorm room-worthy decoration? How about the meaty caption that shares the premise of the movie, plus the tagline "He loved the American Dream. With a vengeance."? Or the striking black-and-white halves imposed over Al Pacino and his iconic white suit?

This movie poster is so cool that the Todd Philips comedy War Dogs even parodied it for one of their own official movie posters.

8. Metropolis (1927)

Directed by Fritz Lang

Starring Brigitte Helm, Alfred Abel, Gustav Fröhlich

Drama, Sci-Fi (2h 33m)

8.3 on IMDb — 97% on RT

Metropolis is one of the landmark movies of the sci-fi genre. You might not get that sense just from its movie poster, but the grand scale of the movie is fully apparent.

Designed by Heinz Schulz-Neudamm, Metropolis' movie poster seizes the gold-plated style of its time to depict the film's dystopian city setting. The eye-catching text, the tall buildings, and the Machine Man below with its ominous eyes all leave a lasting impression.

These elements from this German expressionist science-fiction silent film are just as intriguing to this day. It's no surprise that Schulz-Neudamm's art piece has been regarded as "the world's highest-value poster."

7. The Silence of the Lambs (1991)

Directed by Jonathan Demme

Starring Jodie Foster, Anthony Hopkins, Scott Glenn

Crime, Drama, Thriller (1h 58m)

8.6 on IMDb — 95% on RT

The movie poster for The Silence of the Lambs requires a vagueness that leaves a haunting impression. On its surface, Jodie Foster's mouth being covered by a moth—specifically, a Death's Head hawkmoth—gives you that impression. But there's more to it than meets the eye.

Notice the skull-like pattern on the moth and examine it closely. You can see the bodies of seven women, referring to the victims in the film. Designer Dawn Baillie took director Jonathan Demme's suggestion to use a Salvador Dali photograph to create the image on the moth.

6. Anatomy of a Murder (1959)

Directed by Otto Preminger

Starring James Stewart, Lee Remick, Ben Gazzara

Drama, Mystery (2h 41m)

8.0 on IMDb — 100% on RT

Saul Bass is an icon for movie poster design. He did the title sequences for movies like The Man With the Golden Arm , North by Northwest , Psycho , as well as the logos for Hanna Barbera and AT&T. If you aren't familiar with his work, soak in the poster for Anatomy of a Murder .

To shed hints on this courtroom drama, Bass uses block shapes of a dissected corpse both as a pun on the title and as a glimpse of the film's moral themes. Not the flashiest of its time, but it started a trend of minimalist movie posters with deeper meanings. All hail Saul Bass!

5. Vertigo (1958)

Directed by Alfred Hitchcock

Starring James Stewart, Kim Novak, Barbara Bel Geddes

Mystery, Romance, Thriller (2h 8m)

8.3 on IMDb — 92% on RT

Another from Saul Bass, this one's his most notable movie poster. Alfred Hitchcock's widely-celebrated thriller Vertigo involves a detective lead (played by James Stewart) who has acrophobia and vertigo. Bass alludes to that in the title sequence and the movie poster.

Since spirals are a motif in the film, the white spirals give off a mesmerizing but uneasy feeling. The red-orange background draws you in. The silhouetted figure of Stewart's Scottie falling towards the spirals gives the impression of the film's "psychological vortex."

4. Alien (1979)

Directed by Ridley Scott

Starring Sigourney Weaver, Tom Skerritt, John Hurt

Horror, Sci-Fi (1h 57m)

8.5 on IMDb — 98% on RT

Alien is a landmark of science-fiction horror, and the marketing made it clear that that's what they wanted you to know about it.

Starting with its iconicly haunting movie poster, we immediately get a sense of the movie's dark saga and chilling notions. The cracked egg glowing green and the mysterious gridded landscape show how otherworldly the movie is while leaving you wondering.

But the iconic tagline sums up the entire thing: "In space, no one can hear you scream." It's proof of the power that vague-yet-intriguing movie posters can have for horror films: keep the best horror elements a surprise and entice without giving anything away.

3. Pulp Fiction (1994)

Directed by Quentin Tarantino

Starring John Travolta, Uma Thurman, Samuel L. Jackson

Crime, Drama (2h 34m)

8.9 on IMDb — 92% on RT

Quentin Tarantino's magnum opus is an homage to pulp magazines of his time—and the movie poster proudly shows it.

Designed by Quito-based James Verdesoto, the poster for Pulp Fiction shows Uma Thurman's Mia Wallace on a bed with a pocketbook and a Red Apple Cigarette on her hands.

Mia's suspicious look gives off the vibe of a rebellious femme fatale. The 10-cent magazine style is a clever touch, along with the side creases. And the stuff on Mia's bed foreshadows the film's plotlines.

2. Star Wars: A New Hope (1977)

Directed by George Lucas

Starring Mark Hamill, Harrison Ford, Carrie Fisher

Action, Adventure, Fantasy (2h 1m)

8.6 on IMDb — 93% on RT

There have been many iconic movie posters in the Star Wars franchise. While the ones by Struzan stand out, nothing beats the original movie poster for the first Star Wars by the very hands of artist Tom Jung (who designed the posters for Doctor Zhivago and Plan 9 From Outer Space ).

With as many elements as were in the first Star Wars , Jung successfully placed them on a single sheet. From the droids to the Rebel fleet, from the mask of Darth Vader to the beam from Luke's lightsaber, it's all epically displayed in scale.

Even the old Star Wars logo catches the eye! To this day, this is one of the most famous movie posters ever made.

1. Jaws (1975)

Starring Roy Scheider, Robert Shaw, Richard Dreyfuss

Adventure, Mystery, Thriller (2h 4m)

8.1 on IMDb — 97% on RT

The most recognizable movie poster of all time belongs to the very first truest movie blockbuster. Jaws blew the minds of moviegoers of its time, and that impact started with its most iconic poster.

The poster for Jaws is clearly inspired by the cover of Peter Benchley's original novel, and that immediately imparted a sense of terror for readers familiar with the story.

For everyone else, it conveyed everything it needed to say using three effective gimmicks: the simple red-font title; the image of a lady swimming on open waters evoking the feeling of summer; the great white shark with its extremely sharp teeth and striking position.

All of these make Roger Kastel's poster a quick sell and chief among all the best movie posters of all time.

Screen Rant

Is breaking bad really getting a heisenberg sequel movie in 2024 not so fast.

A poster revealing a 2024 Walter White-centered Breaking Bad spin-off movie has gained traction online. Is it real? Here's what we know.

• The 2024 Breaking Bad Heisenberg movie poster is fan-made, not legitimate, and not part of any planned continuation of the franchise.
• AMC Films is not a real production company, and there are no current plans for a Breaking Bad movie sequel at any point in the future.
• After Better Call Saul ended in 2022, Vince Gilligan has moved on to new projects, with no intention of continuing the Breaking Bad franchise beyond it.

A poster has surfaced for a 2024 Breaking Bad Heisenberg movie sequel, bringing its legitimacy into question. For over a decade since the show's ending, audiences have inquired regarding the future of Breaking Bad characters , or at least the select few who survived. The prequel series Better Call Saul offered a few glimpses throughout its run, and the sequel film El Camino: A Breaking Bad Movie followed up Jessie Pinkman's story in 2019. Still, passionate and dedicated fans of the series crave more, causing a reactive internet response to a poster going around.

Breaking Bad, Better Call Saul, and El Camino are all available to stream on Netflix.

The poster depicts Walter White lying in a hospital bed, indicating that he awoke after his supposed death in the Breaking Bad ending. The headline reads " Heisenberg," suggesting the film's name, with an August 2024 release date. The Facebook post revealed a detailed synopsis in its caption, which explained that the movie would follow Walter White escaping prison. Breaking Bad is one of the best TV shows of all time , so there's no surprise that such a poster would trigger a quick, explosive response.

Breaking Bad Is Not Getting A Heisenberg Movie Sequel In 2024

The breaking bad sequel poster is fan-made, and there is no movie planned for the franchise.

Simply put, the poster is fake. There is no Breaking Bad movie coming in 2024, nor is there one currently planned at any point in the future. In addition, AMC Films is not a real production company. Bryan Cranston, who led the Breaking Bad cast as Walter White, has returned to the role multiple times for Better Call Saul and a Super Bowl commercial where he appeared alongside Aaron Paul. However, neither of those appearances altered the Breaking Bad ending, as one took place before his death chronologically, and the other is a joke for a commercial.

It's hard to imagine any of the creative talents involved in making a well-crafted series like Breaking Bad would have any interest in such an idea.

Breaking Bad had one of the best TV show finales of all time , making the idea of retroactively changing it for a movie sequel ludicrous. Walter White evidently died in Breaking Bad , completing a five-season arc with cathartic moments in Ozymandias and Felina . Having him return for a prison break, portraying an unhinged Heisenberg, would absolutely betray that arc. It's hard to imagine any of the creative talents involved in making a well-crafted series like Breaking Bad would have any interest in such an idea.

There Are No Current Plans To Continue The Breaking Bad Franchise After Better Call Saul

After better call saul ended in 2022, breaking bad creator vince gilligan has moved on to new projects.

As of now, Better Call Saul is the final installment to the Breaking Bad franchise . The show ended in 2022 to overwhelming critical acclaim, concluding the final arcs in Vince Gilligan's world of Albuquerque crime. Realistically, there aren't many promising narratives to follow in future spin-offs, hence why Gilligan has moved on to a new project. The Breaking Bad creator is now working on a TV series for Apple TV+ which is set to star the magnificent Rhea Seehorn, who played Kim Wexler for all six seasons of Better Call Saul .

Breaking Bad

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Breaking Bad, created by Vince Gilligan, follows a chemistry teacher turned drug kingpin named Walter White (Bryan Cranston) as he attempts to provide for his family following a fatal diagnosis. With nothing left to fear, White ascends to power in the world of drugs and crime, transforming the simple family man into someone known only as Heisenberg.

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A journey across a dystopian future America, following a team of military-embedded journalists as they race against time to reach DC before rebel factions descend upon the White House. A journey across a dystopian future America, following a team of military-embedded journalists as they race against time to reach DC before rebel factions descend upon the White House. A journey across a dystopian future America, following a team of military-embedded journalists as they race against time to reach DC before rebel factions descend upon the White House.

• Alex Garland
• Nick Offerman
• Kirsten Dunst
• Wagner Moura
• 11 User reviews
• 47 Critic reviews
• 79 Metascore
• 1 nomination

• American Soldier (Middle East)

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• Production, box office & more at IMDbPro

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• Trivia Actors Nick Offerman and Jesse Plemons weren't known to be a part of the project until the first trailer dropped in December 2023. Plemons even denied the rumor that he was in the film earlier that year.

Unnamed Soldier : What kind of *American* are you?

• Connections Featured in Nerdrotic: Woke Hollywood's Civil WAR? Disney DESTROYS Hasbro - Nerdrotic Nooner 388 with Chris Gore (2023)

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• rocketwoods
• Apr 9, 2024
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• April 12, 2024 (United States)
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• United Kingdom
• Ngày Tàn Của Đế Quốc
• Atlanta, Georgia, USA
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• $50,000,000 (estimated)

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• Runtime 1 hour 49 minutes
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Family Star Hindi Dub Release Date Window Confirmed, Claim Reports

By Aditi Rathi

Family Star is just around the corner, and Vijay Deverakonda and Mrunal Thakur’s fans eagerly await to watch it. It marks another collaboration between the actor and director Parasuram. Since Deverakonda’s last two outings did not impress the audience as their makers had anticipated, fans’ hopes are high for his upcoming family drama. While the movie is simultaneously being released in Telugu and Tamil, details of its Hindi release date are not yet available. However, a new report claims the release will not take much time.

Family Star follows the story of Govardhan, a common man who loves his family. As per the trailer, he does not think twice before fighting goons when it comes to his dear ones. His life seemingly changes when he crosses paths with Indhu, who eventually becomes his better half. Producer Dil Raju has already revealed that most of the movie is a romance comedy, and the rest is a family drama. Therefore, seeing how the movie will unfold on the silver screens would be interesting.

When will Family Star Hindi version release?

Family Star’s Telugu and Tamil exclusive theatrical releases are taking place on April 5, 2024. Now, all eyes are on the movie’s Hindi dub’s release date. According to a report by 123telugu.com, the Hindi version will be out in the next two weeks. Alongside the Hindi dub, the movie will be released in Malayalam.

Fans are upset with the news as there is a massive buzz around Vijay Deverakonda and Mrunal Thakur’s pairing.

Apart from the two leads, the Family Star also features Abhinaya, Vasuki, Ravi Babu, and Vennela Kishore. Moreover, a cameo by Rashmika Mandanna is also making rounds. However, when the producer was questioned about the same, he refused to answer and asked the audience to watch the movie.

Always lookin' for what's cookin', Aditi is a fan of American sitcoms and Indian cinema. The combination is as quirky as she is. Apart from writing all day, you can catch her playing with her street dogs, painting, or cooking.

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