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Once (2006)
No (2012)
A film depicting the end of years of military dictatorship possibly doesn't sound like too much fun, but Pablo Larrain's film about Chile's " No " campaign for a national vote over Pinochet proves to be just that. With the same style of graphics used by the original campaign, the title card stays true to the spirit and tone of its real-life inspiration.
Spring Breakers (2012)
Nothing says "SPRING BREAK!" like neon dolphins arranged into letters. Like an acid trip as Sea World, there's nothing subtle about Spring Breakers ' title card - just like the rest of the film.
Paranorman (2012)
A classic chiller typeface (with just a hint of family-friendliness) and a jaunty angle give Paranorman the perfect retro feel for an animated comedy horror.
Breakfast at Tiffany's (1961)
Perfectly timed, the titles fade in just as Audrey Hepburn pops a pastry in her mouth upon her arrival at Tiffany's. Hepburn reportedly hated Danish pastries, making the shot a particular chore for her.
The Artist (2011)
Authentic to a minute degree, from the 4:3 aspect ratio to the soft focus, The Artist never breaks character.
Shame (2011)
Crumpled (presumably also soiled) bedsheets, and the word "Shame" almost tucked into the bed on which Michael Fassbender's Brandon has carried out many of his slightly sordid liaisons; director Steve McQueen lays the foundation for his examination of a damaged, sex-obsessed man.
Indiana Jones And The Temple Of Doom (1984)
The iconic, cartoonish Indiana Jones logo tucks in behind a performer in the opening scene of Temple Of Doom . While this kind of image layering might be taken for granted in today's After Effects world, the technique was fairly advanced for 1984.
Django Unchained (2012)
A typically Tarantino-ish nod to the source material (the 1966 Django , widely considered at that point to be the most violent film ever made) the Django Unchained titles are an apt throwback to spaghetti Westerns and blaxploitation classics.
The Cabin In The Woods (2012)
With all the surprise and genre subversion of the film itself, the titles slam onto screen in the middle of Cabin 's low-key opening scene. Sitterson and Hadley's inane chat over a coffee ("Wanna come over Monday night? I'm going to pick up some power drills...") is interrupted by a disruptive shock of strings and an enormous blood-red font.
