Drew Struzan’s Iconic Top 5 Movie Posters

A movie poster is much more than just marketing; it is a visual symphony. It sets the tone, describes the plot, and acts as the first, often most compelling, handshake between cinema and the audience. While modern posters frequently rely on digital collages and “floating heads,” there remains a golden age where artists crafted promotional art that felt less like marketing and more like a piece of high art.

The undisputed master of this tradition is the late, great Drew Struzan. Known primarily for his work on 80s blockbusters, Struzan’s distinct style—vibrant, bold, and meticulously drawn—serves as a bridge between the classic cinematic posters and the modern visual landscape we inhabit today. His compositions lend an elevated class to film promotion, capturing the epic scope of a story with an unmatched sense of drama.

Let’s explore just a few examples of Struzan’s iconic work that proves how powerful poster design can be:

For a taste of pure adventure and fairy tale charm, consider his work on Hook. He masterfully utilized the pirate motif to frame the entire scene within an evocative treasure map. The poster expertly balanced the dual star-power of Robin Williams and Dustin Hoffman as adversaries while centering the iconic hook, infusing the image with a feeling of boundless adventure.

Then there is the delightful comedic timing found in posters like Coming to America. While some might argue it doesn’t dominate the pantheon, this piece showcases Struzan’s dynamic ability. He captured Eddie Murphy with great stature, placing him against a backdrop that made him look exactly like that lovable fish-out-of-water figure. The image is infectious, oozing happiness and anticipation for his journey.

Struzan also played a pivotal role in defining cinematic eras. His poster for Star Wars: Episode I – The Phantom Menace was more than just promotion; it was a powerful bridge from the classic era to the modern one. It visually encapsulated the hype, juxtaposing the menacing glare of Darth Maul with the noble look of Liam Neeson’s Qui-Gon and Anakin Skywalker, perfectly setting the stage for a new cinematic age.

The contrast in his work is equally striking. His design for Indiana Jones and the Temple of Doom acts as a bridge from the golden era back to classic adventure serials. Here, the composition shifts: the heroes are bathed in friendly colors, while the temple itself burns with fiery red and orange, immediately signaling the polarizing and darker tone of the film.

Perhaps the most iconic example of dynamic simplicity is his poster for Back to the Future. This image is a masterpiece of cinematic storytelling—it eschews the collage and floating heads, delivering an astonishing sense of movement. Marty McFly emerges from the Delorean like an alien from a spaceship, perfectly capturing the panicked yet comedic displacement felt during time travel. With the iconic fire trails at the bottom, the poster doesn’t just advertise a movie; it transports you directly into the experience.