Name That Poster: Movie Quiz (1)

[D] Twilight | Spot the blue-gray forest mist plus pale couple close-up; Filmed in the Pacific Northwest; that misty canopy came standard.

[A] The Dark Knight | Teal-black palette and blazing bat emblem rewired blockbuster poster design in 2008. Also, note the cobalt-black city haze and smudged clown makeup.

[D] Office Space | Those TPS reports stack and stapler/office cubicle vibe give it away; The original one-sheet wrapped Ron Livingston in Post-it notes. Corporate absurdism, condensed.

[B] 300 | Clue stack: sepia blood spray, then scarlet cape and spears. Photographed on greenscreen; gritty sepia and scarlet became Snyder’s signature palette.

[B] Terminator | Sunglasses and shotgun pairs with red HUD glint. Red HUD glint nods to a cyborg viewpoint; shades and leather do the rest.

[C] Back to the Future | Your eyes catch DeLorean door glow, then orange-blue time trails. Drew Struzan painted that glowing DeLorean door and orange time streaks by hand.

[B] Saving Private Ryan | Design tells on itself: smoky WWII beach, soldiers’ silhouettes. De-saturated combat tones matched Janusz Kamiński’s bleach-bypass look.

[A] The Breakfast Club | Recognize the library-floor group slouch? Then the pastel jackets. Annie Leibovitz shot the now-classic library-floor portrait for Universal.

[C] Amadeus | Once you clock hooded figure arms wide and baroque mask, the pick is simple. That outstretched cloak hides Salieri; the mask mirrors the opera’s masquerade games.

[D] Ladyhawke | Moonlit hawk meets medieval cloak romance. Richard Donner sold romance with moon and falcon instead of spectacle.

[C] Beauty and the Beast | It’s the ballroom twirl with the rose-and-gold glow. The ballroom twirl and rose glow echo the film’s stained‑glass motif.

[B] The Fly | Look for green telepod door; after that, insect silhouette. The telepod’s green spill became shorthand for Brundle’s metamorphosis.

[C] Amelie | Emerald backdrop. Add pixie haircut smirk. That emerald wash came from digital timing; Jeunet wanted whimsy over realism.

[B] The Matrix | Two cues: digital rain code and black trench coats. Visual effects crew coined “digital rain”; those glyphs were sushi recipes scanned.

[A] Footloose | Read the poster: backlit jump pose beside neon dance sweat. Backlit jump frame screams 1980s energy before the first beat lands.

[A] The Nightmare Before Christmas | First spiral hill crescent, then pumpkin grin. The spiral hill silhouette became a Hot Topic-era icon.

[C] Top Gun | The combo—aviator shades with jet canopy gloss—is the tell. Tony Scott’s sunset jets and aviator glam restarted Navy recruitment.

[B] Tropic Thunder | Jungle fireballs plus overdone macho poses is your compass. The over-the-top trio layout parodies macho one-sheets from the 80s.

[C] The Shawshank Redemption | You’ll notice rain-soaked cruciform pose; the sepia prison light seals it. Rain-soaked “rebirth” pose wasn’t even in the initial marketing cut.

[C] The Big Lebowski | Signature details: bowling ball shine; orange sunglasses. The bowling orb reflection and shades telegraph Coen-level deadpan.

[A] Face/Off | Trust the visuals: split-face framing, then staring head-on. Split-face design matched the movie’s literal identity swap.

[B] The Wrestler | The poster whispers via backstage ropes slump and spotlight haze. Poster’s slumped-on-ropes image mirrors a career near collapse.

[A] The Silence of the Lambs | Check moth over lips. Now spot porcelain face. Death’s-head moth hides a Dali skull arrangement, “In Voluptas Mors.”

[D] Braveheart | Proof sits in blue warpaint alongside flaming backdrop. Blue woad and sword against fire sell defiance more than biography.