Hand drawn art often has its own dramatic reality. There is a sadness to it that reflects the ennui in every soul. It is an antic restlessness contained within a frame -- anger and violence struggling to break out.
In the posters of Krzysztof Domaradzki this balance between sadness and anger is what gives them their dramatic impact. There is tension and conflict, the essence of all action in a state of permanent inaction. The characters remain forever pissed off or melancholic, always in a near state of fervid emotion.
In Domaradzki's No Country for Old Men poster it becomes a pyramid of conflicting yet plateauing emotions. It is a hell of frozen rage and violence wanting but never exploding.
The Dirty Dozen portrait of a stoic Lee Marvin crackling into embers at the edges is just another way to show this static emotional hell. There is nothing worse than to be hell bent on doing something and never being allowed to do it.
The same for The Last of Us image, a portrait to a video game that catches a potent dose of apocalyptic fury. There is a mourning for what the world has become in the countenance of the child (almost woman) gazing towards a vacant future.
Moments of sadness "like tears in the rain" loom large over the expanding show down opening all around Rachael (Sean Young) the android maybe human in the startling Blade Runner poster.
And if you need portraits of the Devil himself there are no better ones than Domaradzki's glowing "Lucifer"-resecent Clint Eastwood or a nonchalant "The Master" Phillip Seymour smoking on a cigarette and looking heavenward desiring to be God.