... FOR "DETAILS YOU PROBABLY NEVER NOTICED IN POPULAR FILMS BEFORE ('HOME ALONE' EDITION)"

For Home Alone (1990), director Chris Columbus wanted to give the film a warm Christmas feel. So he drenched the production design in greens and reds, the better to imbue the viewer with the spirit of the season:

... FOR "CINEMA STAPLES AND THE PECULIAR POSITIONING OF NAMES ON MOVIE POSTERS"

While we're stuck on a movie poster kick, I happened to catch a 10-minute featurette on Ridley Scott's The Counselor the other day, which, among clips and talking-head interviews and the like, also featured red-carpet footage from the movie's October 3rd UK premiere. As they questioned star Michael Fassbender for the camera, I couldn't help but notice a peculiar poster for the film in the background (note: this photo is obviously from an Entertainment Tonight report from the very same event, and not, obviously, from the featurette I watched on the TV the other night, since I couldn't find a photo from that):

It's nothing special as far as posters go, just your typical mishmash of the actors' profiles to let you know who's actually in the movie, except for one particular problem: their names don't line up with their faces! And it took my brain a moment to process it (Why, that isn't Fassbender - that's Cameron Diaz! And that isn't Cameron Diaz - it's Brad Pitt!). Here's a closer look, so you can see what I'm talking about:

... FOR "SIGNS THAT SOME PEOPLE HAVE TOO MUCH TIME ON THEIR HANDS (MOVIE POSTER MASHUP EDITION)"

Perusing the Internets the other day, I happened on a most distressing trend...

... FOR "MOVIE COINCIDENCE OF THE DAY #2"

In which we take a look at a series of odd movie coincidences - scenes, jokes, dialogue, even specific camera shots shared between two seemingly unrelated films. Anyone who's sat through a particular scene in a movie and thought, "Gee, haven't I seen someone do this somewhere before?" will know exactly what I'm talking about.

Continuing with our horror movie theme (a week after Halloween - so sue me), I offer this comparison between two "classics" of the genre, Tobe Hooper's Poltergeist (1982) and Wes Craven's A Nightmare On Elm Street (1984). One is a haunted house movie in which a middle-class American family find themselves under attack from a malevolent spirit. The other is an atypical slasher flick in which a group of all-American teenagers fall victim to a razor-fingered psychopath who kills them in their sleep. Couldn't be more different, right? Yet they share a single scene on common - in which a character is dragged across the walls and ceiling of her bedroom by an unseen demonic force:

... FOR "HALLOWEEN HORROR PROJECT - 2013"

I'm currently at work on a Horror retrospective for the blog, but it looks like I'm not going to finish on time (that's the thing about self-imposed deadlines - you know how forgiving the boss can be), so I thought I'd run a quick opinion poll for the time being instead...

Yesterday on Facebook, I asked everyone within eye shot what they'd recommend to a friend if they were asked the question: "What movie should I rent for Halloween night?" This could run the gamut from grossest gore film to funniest scare comedy to zaniest zombie flick - anything they found particularly frightening or family-friendly (or both) for the holiday, and why that particular film should be cherished and appreciated by others. The response was about as enthusiastic as I expected, but the thing I always find so interesting is how different types of Horror movies affect different types of people. From The Blair Witch Project to The Exorcist to Psycho to Shaun Of The Dead... what's scary to one person will often have a different effect on someone else, and it was fun to get at the heart of what really scares the pants off of you this time of the season.

... FOR "WALT DISNEY'S ANIMATED FIFTY (PART 49 - 'THE PRINCESS AND THE FROG' EDITION)"

Our continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries are also included below.

Title: The Princess And The Frog (2009; based on the novel The Frog Princess by E. D. Baker, and "The Frog Prince" by the Brothers Grimm)

The Plot: In 1920s New Orleans, a waitress who dreams of opening a restaurant and a pampered, arrogant prince are magically transformed into frogs by a voodoo doctor's curse.

The Songs: "Down In New Orleans," "Almost There," "Friends On The Other Side," "When We're Human," "Gonna Take You There," "Ma Belle Evangeline," "Dig A Little Deeper," "Never Knew I Needed" (performed by Ne-Yo)

... FOR "MOVIE COINCIDENCE OF THE DAY #1"

First in a series of blog posts in which we take a look at odd movie coincidences - scenes, jokes, dialogue, even specific camera shots shared between two seemingly unrelated films. Anyone who's sat through a particular scene in a movie and thought, "Gee, haven't I seen someone do this somewhere before?" will know exactly what I'm talking about.

We begin with The Last Samurai (Edward Zwick, 2003) and Oblivion (Joseph Kosinski, 2013), two films as distinctly different as they come. One is a historical drama set in 19th Century Japan; the other a special effects-laden sci-fi parable set 60 years in our future. Both, however, feature the same lead actor (Tom Cruise), and conclude with a strikingly similar series of shots.

In both, our hero is able to make it back, after a Long Personal Journey, to the woman he loves. As she works in the garden (with her offspring looking on), they spot each other from a distance. Each film ends on Cruise's goo goo-eyed expression:

... FOR "CINEMA STAPLES AND THE OMNISCIENT FIRST-PERSON CAMERA"

The Truman Show (1998)

Continuity errors. Recycled camera shots. The Wilhelm Scream. So far, we've taken look at some of the more common cinema staples used to "cover up" gaps in editing or shave a few extra dollars off production costs. Nitpicking or no, these are all part of the cinematic language and must be addressed, if only to enrich our understanding of the filmmaking process as a whole. But what about those film flubs or lapses in logic directors purposely try to sneak into their films, in order to make specific dramatic points?

Re-watching Bolt the other week, I was struck again by the propulsiveness of its 11-minute opening sequence, which packs twice the fun of the average Michael Bay action blockbuster and three times the clarity. It also has us believing, for a while at least, that the movie will follow the adventures of 13-year old "Penny," her super-powered pet pooch, and their attempt to rescue Penny's scientist father from the clutches of evil-doers. Then, at the climax ("Bolt, speak!"), the rug is pulled out from under us: What we've been watching isn't an actual adventure at all, but the latest episode of a weekly television series, also called Bolt, with a budget roughly the size of the U.S. deficit. The joke, of course, is that Bolt himself has little idea that everything around him is a great big fake. The makers of the TV show have gone to great lengths to hide the truth from their canine co- star, strategically placing their cameras and sneaking around set. But like a doggie variation on The Truman Show, the facade can only last so long.

... FOR "WALT DISNEY'S ANIMATED FIFTY (PART 48 - 'BOLT' EDITION)"

Our continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries are also included below.

Title: Bolt (2007)

The Plot: The canine star of a weekly sci-fi TV show, convinced that his superpowers are real, embarks on a cross-country journey to find his "kidnapped" master, with a stray cat and a hamster in tow.

The Songs: "I Thought I Lost You" (performed by Miley Cyrus & John Travolta), "Barking At The Moon" (performed by Jenny Lewis)

... FOR "WALT DISNEY'S ANIMATED FIFTY (PART 47 - 'MEET THE ROBINSONS' EDITION)"

Our continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries are also included below.

Title: Meet The Robinsons (2007; based on the book A Day With Wilbur Robinson by William Joyce)

The Plot: A 12-year-old orphan with a knack for invention is whisked away on a time-travelling adventure, during which he meets wacky new characters and attempts to correct the mistakes of his past.

The Songs: "Another Believer" (performed by Rufus Wainwright), "Where Is Your Heart At?" and "Give Me The Simple Life" (performed by Jamie Cullum), "Little Wonders" (performed by Rob Thomas), "The Future Has Arrived" (performed by The All-American Rejects), "The Motion Waltz (Emotional Commotion)" (performed by Rufus Wainwright)

... FOR "WALT DISNEY'S ANIMATED FIFTY (PART 46 - 'CHICKEN LITTLE' EDITION)"

Our continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries are also included below.

Title: Chicken Little (2005; based on the centuries-old folktale)

The Plot: A determined yet diminutive rooster becomes a laughing stock when he accuses the sky of falling, but is later vindicated when an army of UFOs invades his town.

The Songs: "One Little Slip" (performed by Barenaked Ladies), "All I Know" (performed by Five For Fighting), "Shake A Tail Feather" (performed by The Cheetah Girls); all other songs, including "Ain't No Mountain High Enough" (performed by Diana Ross) and "Stir It Up" (performed by Joss Stone and Patti LaBelle) were not written specifically for the film

... FOR "CINEMA STAPLES AND THE MYSTERY OF THE RECYCLED CAMERA SHOT"

Making movies is hard. In fact, with so many factors at play - script, acting, editing, costume and set design, cinematography, not to mention escalating budgets and ever-tightening production schedules - it's a wonder studios manage to churn out coherent films at all. It takes an enormous amount of talent and patience and all-around singularity of vision to pull off what most directors do; that much is to be admired. Like the rest of us, though - those burdened by countless responsibilities throughout the course of our days - they are only human, and prone to make mistakes. Continuity errors, say - the placement of objects or actors mismatched from one camera shot to the next. Or repeated auditory motifs, which not only hearken back to Hollywood's long and illustrious past but also take us out of the movie itself - so that, when we hear them, we are self-consciously aware that what is unfolding before us is, in fact, only a movie.

The process of editing a film might also pinpoint mistakes not evident during actual production. A missing close-up or establishing shot, for instance, which would otherwise clarify narrative action. A director is then faced with a number of choices: one, he can rustle up the necessary approvals and crew to travel back and get that shot; two, he can skip the shot entirely, and risk confusing his audience; or three, he can find a suitable replacement shot, preferably of something already filmed. Most directors, because of time and money constraints, will often re-use or alter specific shots to suit their particular needs. Let's call this the mystery of the recycled camera angle - a repeated shot, used twice within the same film, to cover up a piece of missing footage.

... FOR "WALT DISNEY'S ANIMATED FIFTY (PART 45 - 'HOME ON THE RANGE' EDITION)"

Our continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries are also included below.

Title: Home On The Range (2004)

The Plot: Three dairy cows in the Old West set out to capture a notorious cattle rustler and use the reward money to buy back their farm.

The Songs: "(You Ain't) Home On The Range," "Little Patch Of Heaven," "Yodle-Adle-Eedle-Idle-Oo," "Will The Sun Ever Shine Again," "Wherever The Trail May Lead," "Anytime You Need A Friend"

... FOR "WALT DISNEY'S ANIMATED FIFTY (PART 44 - 'BROTHER BEAR' EDITION)"

Our continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries are also included below.

Title: Brother Bear (2003)

The Plot: In post-ice age North America, an Inuit boy kills a bear as revenge for his brother's death and is transformed into a bear himself.

The Songs: "Great Spirits," "Transformation," "Welcome," "On My Way," "No Way Out (Theme from Brother Bear)," "Look Through My Eyes," "No Way Out (Phil Collins Version)"

... FOR "SUMMER OF THE UNOFFICIAL REMAKE, 2013"

If our current summer movie season had a theme - I know, I know, it's only been a couple of months, yet already one has started to shake itself out - it might be The Summer Of The Unofficial Remake, Whether Its Makers Care To Admit To It Or Not. Of the season's biggest studio releases, at least a dozen of them - Iron Man 3, Star Trek Into Darkness, Fast And Furious 6, Man Of Steel, Monsters University, World War Z, White House Down, Despicable Me 2, The Lone Ranger, R.I.P.D., RED 2 and The Wolverine - seem cobbled together from the spare parts of previous films. Most, obviously, just happen to be sequels and/or prequels to popular franchises (or, in Star Trek's case, a sequel to the reboot prequel). But that's no excuse for the amount of literal scene-stealing going on now at your local multiplex.

The saying goes, of course, that there's nothing new under the sun. And this is true, to a point (as David Bordwell astutely says here, even box office behemoths like The Godfather, Star Wars and Raiders Of The Lost Ark took previously-established Hollywood genres and made them bigger and better). I've even written about films that take entire plots from other films and try to pass them off as their own - a dispiriting trend in Hollywood, and one that seems to be growing more common by the minute.

... FOR "CARTOON/CELEBRITY DOPPELGÄNGERS"

Been on an animation kick as of late, what with ABC Family and The Disney Channel showing Peter Pan, Tarzan and Lilo & Stitch at all hours of the day, plus the kids' incessant playing of Wreck-It Ralph on DVD. It always impresses me how the best cartoon features still have the power to entrance us, even after all these years, with animation every bit as supple as their storytelling.

Even so, we skipped seeing Ralph in theaters - sometimes, it's hard to tell what will and what won't be worth the $40 family trip to the movies - but I imagine it plays just as well at home as it did on the big screen. Disney's 52nd Animated Classic basically does for video games what Toy Story did for toys, with clever cameos and in-jokes for old-school and hardcore gamers alike, and a sugar-sweet story at its center. What I like most about it, though, are the vocal performances - namely from its two main stars, whom you wouldn't normally associate with kid-friendly fare.

... FOR "CINEMA STAPLES: INTRODUCTION AND THE WILHELM SCREAM"

So we spoke about continuity errors last week, and how they permeate even the biggest blockbuster behemoths - including, but not exclusive to, Steven Spielberg's Jurassic Park. My point, of course, was not to poke fun at Jurassic Park, or sway your opinion of it in any way (for the record, I still think it's a slam-bang piece of commercial entertainment, with special effects that continue to impress to this day). I simply wanted to spotlight one of the more common types of film flubs we so often take for granted, and maybe open your minds to the filmmaking process as a whole.

Some call this nitpicking. I respectfully disagree. I think becoming more acutely aware of what you're watching only enhances the movie-going experience, enriches it, makes you an active part of it. Plot holes, camera angles, lighting styles, musical compositions, mise-en-scène - all these are part of the cinematic language as we know it, and understanding what they are and how they apply to specific films only helps our appreciation to grow.

... FOR "TWENTY YEARS LATER: 'JURASSIC PARK' (AN APPRECIATION - OF SORTS)"

Jurassic Park gets a fancy new upgrade on Blu-ray this month (in 3D!) after raking in an additional $42 million in U.S. theaters (including one week in IMAX) since April 5th. I haven't been too enthusiastic about these post-converted 3D re- releases so far (read here for evidence on that), but I have to admit seeing Steven Spielberg's 1993 dinosaur epic again on the big screen might have its perks. (That sublime raptors-in-the-kitchen climax, in full-on jump-at-your-face three-dimensional glory? Yes, please!) I've resisted the urge to buy a ticket, though, since I happened to catch the movie twice on TV during the last week (once on DVD, and the other during its regular rotation on Starz), and I realized that my appreciation for it hasn't dwindled a bit since my initial viewing 20 years ago.

Even on the small screen, to witness Jurassic Park again is to be reminded of two things: one, that it helped change the face of CG special effects work as we know it, and two, it's a prime example of Spielberg's unparalleled genius as a virtuoso action director. No one can deny that the dinosaurs are the stars of the show - a glorious mix of computer-generated images, animatronics, and sound design. But without Spielberg's sly signature wit Jurassic Park might have turned out to be just another mindless monster movie.

... FOR "WALT DISNEY'S ANIMATED FIFTY (PART 43 - 'TREASURE PLANET' EDITION)"

Our continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries have also listed below.

Title: Treasure Planet (2002; based on the novel Treasure Island by Robert Louis Stevenson)

The Plot: On a distant planet, a rebellious teen embarks on a quest for a legendary lost treasure, and encounters pirates, mutiny and murder along the way.

The Songs: "I'm Still Here (Jim's Theme)," "Always Know Where You Are"

... FOR "IMAGES ('X-MEN' 2000-11 EDITION - PART THREE)"

Part Three of our X-Men movie retrospective, in which we take a visual tour of the franchise's special (and not-so-special) pleasures.

Hidden gems and history lessons. Callbacks and cameo appearances. The X-Men movies are perhaps the most richly textured of all comic book franchises, with plenty of subtext and shout-outs for fans and non-fans alike. Take another look, though, and you'll see the films cribbing not just from themselves but from other popular series as well.


Fearful Symmetry

I spoke last time about the X-Men of First Class learning firsthand from President Kennedy, via television, of the impending Cuban Missile Crisis. Here it is again, in case you missed it:

... FOR "BIG DREAMS AND BOUGAINVILLEA" (AN ALBUM REVIEW OF LUCID 8 AND "AMERICAN EYESORE")

And now for something completely different here at FTWW... a full-on CD review of American Eyesore, debut album from local-band-makes-good Lucid 8. Drummer Jonny has been one of my closest friends for as long as I can remember, and I know he and the guys poured their hearts and souls into the project, so it pleases me to put in a plug for them here. (And, yes, I am fully aware of how self- serving that sounds.) Now excuse me while I try my hardest to sound like a rock critic...

When we're young, we all dream of becoming rock stars. It ranks up there with being a superhero, or an astronaut - surrounded by millions of adoring, screaming fans, worshipping at the altar of your very existence. Yet how many of us actually get to do the things we dream about? Breaking into the music business, believe it or not, can be just as difficult as learning to pilot the space shuttle or adopting super powers. For every artist that makes it, though (Imagine Dragons and fun. [formerly The Format] are recent examples, and even Belgian-Australian singer Gotye dabbled in the avante garde for nearly a decade before gaining international success with "Somebody I Used To Know"), there are literally hundreds who don't - timing, talent, and good old fashioned luck all playing a key factor in any artist's success.

... FOR "IMAGES ('X-MEN' 2000-11 EDITION - PART TWO)"

Part Two of our X-Men movie retrospective, in which we take a visual tour of the franchise's special (and not-so-special) pleasures.

So we've already established some of the many Easter Eggs and character cameos which make up Marvel's mutant movie universe. This includes, during an early sequence in X-Men: The Last Stand, a direct homage to Claremont/Byrne's two-part Days Of Future Past, in which our heroes are rounded up and herded into WWII-type internment camps.

That the latest X-Men sequel to enter production is also called Days Of Future Past raises some interesting theoretical questions, namely: Did they plan this sort of thing from the beginning, with every intent to revisit this particular story thread in the future? Or did the producers of X-Men 3 simply include the scene as a shout-out to fans, because they couldn't find room for it elsewhere? Evidence seems to suggest the latter, though wouldn't it be fun, in today's post-Avengers climate, to think that the makers of this $1.9 billion franchise had a particular endgame in mind?

... FOR "HOLLYWOOD'S BIGGEST NIGHT" (aka "OSCARS 2013") - UPDATED! WITH WINNERS AND (BRIEF) COMMENTARY!

UPDATE: Another year, another Oscar celebration. And though it was still technically anyone's game, the results were pretty much as expected, with Argo, Les Misérables, Life Of Pi and Lincoln carrying their share of the winner's workload. (About Daniel Day-Lewis: of course he deserved to take home the Best Actor award, but if history's taught us anything, it's that actors rarely pull a same-category trifecta.) The night's biggest surprise? I'd call it a tie: First, the great Christoph Waltz scoring his second Best Supporting Actor nod (for his second starring role in a Quentin Tarantino movie, no less), and, of course, Jennifer Lawrence tripping (gracefully) onto the stage to accept her Best Actress award. The rest of the winners were respectably even across the board, with Life Of Pi winning four awards, Argo and Les Mis winning three, and Lincoln, Django Unchained, and Skyfall (yes!) each winning two. As always, the full list of winners follows below, bolded and marked with an asterisk (*).

Well, it's Oscar time again, folks! That time of year when Hollywood's best and brightest gather together at the world-renowned Dolby/Kodak/ Hollywood and Highland Center Theatre to celebrate 365 days' worth of movies and magic. That time of year when your favorite stars get dolled up in their fanciest duds to strut down that Red Carpet, put on a happy face, put their best foot forward, bask in each other's proverbial spotlight, and... and...

Oh, who am I kidding? If you're a fan at all of the blog, then you're already well aware of my general dislike for this annual Academy Award worshipping nonsense. (For those unaware, let's recap: The Oscars, more than anything, are a lot like high school, in which the Popular Kids command all the attention and respect. And yet we continue to watch, because we just can't get enough of it.) You think I'd be frothing at the mouth a bit, shouting from the rooftops to anyone and everyone who'll listen, but then a funny thing happened: Last month, when they announced the nominations for this year's telecast, my dislike turned to full-on complacency and acceptance, as if I'd finally gotten over myself long enough to see the light. The Oscars are all about the politics, always have been, always will. The fun part is seeing how those politics play out. (In other words: Just sit back and go with the flow. Resistance is futile.)

... FOR "WALT DISNEY'S ANIMATED FIFTY (PART 42 - 'LILO & STITCH' EDITION)"

My continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries have also been included below.

Title: Lilo & Stitch (2002)

The Plot: An alien programmed for death and destruction is adopted by two orphaned sisters on the island of Kauai.

The Songs: "He Mele No Lilo," "Hawaiian Roller Coaster Ride" (performed by Mark Keali'i Ho'omalu and Kamehameha Schools Children's Chorus); "Blue Hawaii," "Heartbreak Hotel," "Hound Dog," "Stuck On You," "Suspicious Minds," "You're The Devil In Disguise" (performed by Elvis Presley); "Burning Love" (performed by Wynonna); "Can't Help Falling In Love" (performed by The A*Teens)

... FOR "IMAGES ('X-MEN' 2000-11 EDITION - PART ONE)"

Some final thoughts on X-Men before we move on to bigger (and brighter?) things. I don't know if these types of posts will follow every Franchise Face-Off from this point on, but these Comic Book movies have definitely sparked my interest as of late. Perhaps this is because both comic books and the cinema are purely a visual medium: It's the images that catch your eye, after all, and if the story connecting them together happens to keep your attention, then so be it. That's just gravy for all those concerned. The best CBMs understand this and deliver on it, twofold.

The X-Men movies, like Batman and Superman before them, have gone through many different permutations over the years, each time trying desperately to please fans of the comic and kowtow to the demands of the cinema. Below, and during the next two X- centric posts, we cover a few examples of how the filmmakers attempted to do both:

... FOR "FRANCHISE FACE-OFFS (PART 15 - 'X-MEN' EDITION)"

If Batman & Robin signaled the death of the Comic Book Movie, then X-Men (2000) is undoubtedly its rebirth - a reverent, star-studded extravaganza that rang the box office bell in ways very few people expected. Sure, there were attempts to revive the genre in between - Blade (1998) springs to mind, starring Wesley Snipes, or Mystery Men (1999), with Ben Stiller and William H. Macy. But those were low-key adaptations of lesser-known characters, not the big-budget, big-name properties fans took to heart.

Consider, too, how the biggest Comic Book films up to that point, Richard Donner's Superman: The Movie (1978) and Tim Burton's Batman (1989), seemed to spawn only Batman and Superman sequels. X-Men opened the floodgates for future box office spectaculars including Spider-Man (2002), Daredevil (2003), Hulk (2003), Fantastic Four (2005), reboots of the Batman and Superman franchises, plus Marvel Comics' Cinematic Universe, culminating in The Avengers (2012) - currently the third highest-grossing film of all time. Superman '78 may have set the template for comic book verisimilitude (Richard Donner was an executive producer on X-Men), but it was X-Men that permanently whet the public's appetite for cinematic superheroics.

... FOR "MONDO MOVIE MADNESS" (OR, "THE MODERN-DAY MOVIE POSTER AS ART")

If you've never been acquainted with the Mondo Gallery in Austin, TX, then you'd do well to acquaint yourself. An offshoot of the Alamo Drafthouse Cinema chain (est. 1997), the Gallery enlists world-class artists to re-create posters for movies old and new - and then sells them (if you can nab 'em) online, at $35 to $100 a pop. (Posters are created as one-offs and sell out fast, via Facebook and Twitter feeds; buyers often re- sell their purchases on eBay, but at three times the original cost.)

Styles range from comic book designs to collages. And each and every one is a knockout - clever re- imaginings of popular (and not-so popular) films, unburdened by studio mandates or movie star egos. For brevity's sake, I've decided to share some of my favorites below, but really, if you consider yourself a serious film buff, or at least have a moment to spare, then it's worth perusing their extensive back catalogue at www.mondoarchive.com. Click on each poster below to make bigger: