Shoot the Glass

Reducing something to its essence is an artful process, as Big Brother I learned after booting the man who perfectly represented the malignant banality they sought, only to be left with...what was that dude's name? Chris? Bringing out the quintessence of classic films, Shoot the Glass

From a movie-obsessed Suffolk graphic designer (the company name itself comes from the famous Die Hard line), Shoot's minimalist alternative promos take "an image or event in a film and use that as an overall message", easy enough for a Michael Bay flick, but tough for everything else.

For instance, Jurassic Park is artfully summed up by a trembling glass, Ghostbusters by the wavy lines of the flashcards Venkman used to test coeds for ESP, and Blade Runner by three Rutger Hauer teardrops falling in a matrix of rain, also a tidy appraisal of a career that, in a few short years, would be reduced to playing "Nick Parker" in Blind Fury.

For thematic types, there are two poster trilogies, with Back to the Future cleverly displaying each film's timeline as a different looping curve, and Star Wars depicting the Death Star, surrounded clock-face-style by triangular "fighters", first a dozen Rebel (including Luke's highlighted "Red Five"), then a dozen Empire, then 12 of each, meaning there's a good chance this fight will end in a TIE

Standing out's a triple-bill of posters all inspired by The Fountain, with two displaying large, morbidly emphatic quotes ("Death is the Road to Awe" & "Death is a Disease"), and the third sporting a photograph of a serene forest with the small encircled words "Together we will live forever" -- well, everyone except Nasty Nick.