Barry Norman is Britain's best known film critic. This is his personal choice of the ' best ever' films. This is a new revised edition Barry Norman's personal selection of his best 100 films of the century. As he says in his intro ' There is 1 thing of which I am quite sure: you will not agree with all o it. You will agree with some of it; there are films included which would undoubtedly be on everybody's list but equally there are several, maybe many, which would appeae on any but mine...' Each of his hundred films are reviewed in his inimitable style: Witty, incisive, controversial. Accompanying the reviews are the main film credits, running times, Oscar nominations and awards, and video availability. In addition to his selection, Barry Norman has written a perceptive brief history of the cinema: My purpose being to pick out the most sinificant developments and thereby give some kind of context to my choice of the best 100 films of this century. This new hardback edition has been completely updated and revised with colour photographs, where appropriate , throughout.

The arts.

People love movies. People love lists. So The A-List is a natural. While there are plenty of encyclopedic lists of films, this compulsively readable book of 100 essays -- most written expressly for this volume-flags the best of the best as chosen by a consensus of the National Society of Film Critics. The Society is a world-renowned, marquee -- name organization embracing some of America's most distinguished critics: more than forty writers who have national followings as well as devoted local constituencies in such major cities as New York, Chicago, Los Angeles, Boston, Philadelphia, Atlanta, and Minneapolis. But make no mistake about it: This isn't a collection of esoteric "critic's choice" movies. The Society has made its selections based on a film's intrinsic merits, its role in the development of the motion-picture art, and its impact on culture and society. Some of the choices are controversial. So are some of the omissions. It will be a jumping-off point for discussions for years to come. And since the volume spans all international films from the very beginning, it will act as a balance to recent guides dominated by films of the last two decades (hardly film's golden age). Here is a book that is definitely ready for its close-up.

The gangster movie is one of the most popular genres in film. From the Italian, Irish, and Russian "families" in America to similarly sinister groups in Europe, Japan, and beyond, the cinema has never shied away from portraying the evil exploits of these brutal outfits. In this highly entertaining and informative book, two accomplished and apropos authors put the genre in perspective like no other author or documentarian has done before. The Ultimate Book of Gangster Movies provides extensive reviews of the Top 100 gangster films of all time, including sidebars like "Reality Check," "Hit and Miss," "I Know That Guy," "Body Count," and other fun and informative features. Also included are over a dozen stand-alone chapters such as Sleeper "Hits," "Fugazi" Flops, Guilty Pleasures, Lost Treasures, Q&A Interviews with top actors and directors (including Chazz Palinteri, Michael Madsen, Joe Mantagna, and more), plus over 50 compelling photographs. Foreword by Joe Pistone, the FBI agent and mob infiltrator who wrote the bestselling book and acclaimed movie, Donnie Brasco.

Some films should never have been made. They are too unsettling, too dangerous, too challenging, too outrageous and even too badly made to be let loose on unsuspecting audiences. Yet these films, from the shocking Cannibal Holocaust to the apocalyptic Donnie Darko, from the destructive Tetsuo to the awfully bad The Room, from the hilarious This Is Spinal Tap to the campy Showgirls, from the asylum of Das Cabinet des Dr. Caligari to the circus of Freaks, from the gangs of The Warriors to the gangsters of In Bruges and from the flamboyant Rocky Horror Picture Show to the ultimate cool of The Big Lebowski, have all garnered passionate fan followings. Cult cinema has made tragic misfits, monsters and cyborgs, such as Edward Scissorhands or Blade Runner's replicants, heroes of our times. 100 Cult Films explains why these figures continue to inspire fans around the globe. Cult film experts Ernest Mathijs and Xavier Mendik round up the most cultish of giallo, blaxploitation, anime, sexploitation, zombie, vampire and werewolf films, exploring both the cults that live hidden inside the underground (Nekromantik, Café Flesh) and the cult side of the mainstream (Dirty Dancing, The Lord of the Rings, and even The Sound of Music). 100 Cult Films is a true trip around the world, providing a lively and illuminating guide to films from more than a dozen countries, across nine decades, representing a wide range of genres and key cult directors such as David Cronenberg, Terry Gilliam and David Lynch. Drawing on exclusive interviews with some of the world's most iconic cult creators and performers, including Dario Argento, Pupi Avati, Alex Cox, Ruggero Deodato, Jesús Franco, Lloyd Kaufman, Harry Kümel, H. G. Lewis, Christina Lindberg, Takashi Miike, Franco Nero, George A. Romero and Brian Yuzna, and featuring a foreword by cult director Joe Dante, 100 Cult Films is your ultimate ticket to the midnight movie show.

The 101 greatest movies of all time ranked and critiqued. Fully updated for the paperback edition with new films. From The Godfather (#1) to Groundhog's Day (#101) The Greatest Movies Ever is fun and controversial ranking of the greatest movies of all time, as selected by film critics Gail Kinn and Jim Piazza and including comedies, dramas, musicals, romances, and action films compiled from 80 years of movie making and from all around the world. The list includes such classics as Citizen Kane, North by Northwest, and Schindler's List; international films such as The 400 Blows and Roshomon; as well as more recent films including Lord of the Rings: Return of the King and Slumdog Millionaire. Kinn and Piazza offer smart, insightful, and often hilarious commentary for each film as well as cast lists, plot synopses, a tribute to their favorite scene, biographies of the director and key actors, award nominations and wins, behind-the-scene anecdotes, quotes from critics, and more.

From a veteran culture writer and modern movie expert, a celebration and analysis of the movies of 1999—“a terrifically fun snapshot of American film culture on the brink of the Millennium….An absolute must for any movie-lover or pop-culture nut” (Gillian Flynn). In 1999, Hollywood as we know it exploded: Fight Club. The Matrix. Office Space. Election. The Blair Witch Project. The Sixth Sense. Being John Malkovich. Star Wars: The Phantom Menace. American Beauty. The Virgin Suicides. Boys Don’t Cry. The Best Man. Three Kings. Magnolia. Those are just some of the landmark titles released in a dizzying movie year, one in which a group of daring filmmakers and performers pushed cinema to new limits—and took audiences along for the ride. Freed from the restraints of budget, technology, or even taste, they produced a slew of classics that took on every topic imaginable, from sex to violence to the end of the world. The result was a highly unruly, deeply influential set of films that would not only change filmmaking, but also give us our first glimpse of the coming twenty-first century. It was a watershed moment that also produced The Sopranos; Apple’s AirPort; Wi-Fi; and Netflix’s unlimited DVD rentals. “A spirited celebration of the year’s movies” (Kirkus Reviews), Best. Movie. Year. Ever. is the story of not just how these movies were made, but how they re-made our own vision of the world. It features more than 130 new and exclusive interviews with such directors and actors as Reese Witherspoon, Edward Norton, Steven Soderbergh, Sofia Coppola, David Fincher, Nia Long, Matthew Broderick, Taye Diggs, M. Night Shyamalan, David O. Russell, James Van Der Beek, Kirsten Dunst, the Blair Witch kids, the Office Space dudes, the guy who played Jar-Jar Binks, and dozens more. It’s “the complete portrait of what it was like to spend a year inside a movie theater at the best possible moment in time” (Chuck Klosterman).