Gathered in this large volume paperback are some of Hollywood's best loved and most famous movies. In addition to the many film classics, however, the author has included a number of equally entertaining films that deserve to be better known. Many of these movies are now available on DVD. Full credits and detailed reviews are provided for over a hundred of these classic films. Over two hundred more movies are represented by short reviews. Many of the reviews contain DVD details. Of course, not all classic movies have surfaced on DVD to date, but they are being issued at the rate of around forty a month! If you love classic movies, this book will provide an invaluable guide to some of the enjoyable films that are now available (and also, of course, some of the disappointing films that you might wisely avoid).

The story of Eastmancolor's arrival on the British filmmaking scene is one of intermittent trial and error, intense debate and speculation before gradual acceptance. This book traces the journey of its adoption in British Film and considers its lasting significance as one of the most important technical innovations in film history. Through original archival research and interviews with key figures within the industry, the authors examine the role of Eastmancolor in relation to key areas of British cinema since the 1950s; including its economic and structural histories, different studio and industrial strategies, and the wider aesthetic changes that took place with the mass adoption of colour. Their analysis of British cinema through the lens of colour produces new interpretations of key British film genres including social realism, historical and costume drama, science fiction, horror, crime, documentary and even sex films. They explore how colour communicated meaning in films ranging from the Carry On series to Monty Python's Life of Brian (1979), from Lawrence of Arabia (1962) to A Passage to India (1984), and from Goldfinger (1964) to 1984 (1984), and in the work of key directors and cinematographers of both popular and art cinema including Nicolas Roeg, Ken Russell, Ridley Scott, Peter Greenaway and Chris Menges.

**One of Literary Hub’s Five “Most Critically Acclaimed” Biographies of 2022** From acclaimed cultural and film historian James Curtis—a major biography, the first in more than two decades, of the legendary comedian and filmmaker who elevated physical comedy to the highest of arts and whose ingenious films remain as startling, innovative, modern—and irresistible—today as they were when they beguiled audiences almost a century ago. "It is brilliant—I was totally absorbed, couldn't stop reading it and was very sorry when it ended."—Kevin Brownlow It was James Agee who christened Buster Keaton “The Great Stone Face.” Keaton’s face, Agee wrote, "ranked almost with Lincoln’s as an early American archetype; it was haunting, handsome, almost beautiful, yet it was also irreducibly funny. Keaton was the only major comedian who kept sentiment almost entirely out of his work and . . . he brought pure physical comedy to its greatest heights.” Mel Brooks: “A lot of my daring came from Keaton.” Martin Scorsese, influenced by Keaton’s pictures in the making of Raging Bull: “The only person who had the right attitude about boxing in the movies for me,” Scorsese said, “was Buster Keaton.” Keaton’s deadpan stare in a porkpie hat was as recognizable as Charlie Chaplin’s tramp and Harold Lloyd’s straw boater and spectacles, and, with W. C. Fields, the four were each considered a comedy king--but Keaton was, and still is, considered to be the greatest of them all. His iconic look and acrobatic brilliance obscured the fact that behind the camera Keaton was one of our most gifted filmmakers. Through nineteen short comedies and twelve magnificent features, he distinguished himself with such seminal works as Sherlock Jr., The Navigator, Steamboat Bill, Jr., The Cameraman, and his masterpiece, The General. Now James Curtis, admired biographer of Preston Sturges (“definitive”—Variety), W. C. Fields (“by far the fullest, fairest and most touching account we have yet had. Or are likely to have”—Richard Schickel, front page of The New York Times Book Review), and Spencer Tracy (“monumental; definitive”—Kirkus Reviews), gives us the richest, most comprehensive life to date of the legendary actor, stunt artist, screenwriter, director—master.

A survey of 100 films describes their plots and examines their artistic quality, stars, and the reasons for their special popularity

In the “fast-paced, frightening” (The New York Times Book Review) sequel to Bird Box, the inspiration for the record-breaking Netflix film starring Sandra Bullock, bestselling author Josh Malerman brings unseen horrors to life. NOMINATED FOR THE BRAM STOKER AWARD • “Malorie is even more of a psychological thriller than Bird Box, and all the scarier for it.”—The Wall Street Journal Twelve years after Malorie and her children rowed up the river to safety, a blindfold is still the only thing that stands between sanity and madness. One glimpse of the creatures that stalk the world will drive a person to unspeakable violence. There remains no explanation. No solution. All Malorie can do is survive—and impart her fierce will to do so on her children. Don’t get lazy, she tells them. Don’t take off your blindfold. AND DON’T LOOK. But then comes what feels like impossible news. And with it, the first time Malorie has allowed herself to hope. Someone very dear to her, someone she believed dead, may be alive. Malorie has already lost so much: her sister, a house full of people who meant everything, and any chance at an ordinary life. But getting her life back means returning to a world full of unknowable horrors—and risking the lives of her children again. Because the creatures are not the only thing Malorie fears: There are the people who claim to have caught and experimented on the creatures. Murmerings of monstrous inventions and dangerous new ideas. And rumors that the creatures themselves have changed into something even more frightening. Malorie has a harrowing choice to make: to live by the rules of survival that have served her so well, or to venture into the darkness and reach for hope once more.

A collection of Courtney's columns from the Texas Monthly, curing the curious, exorcizing bedevilment, and orienting the disoriented, advising "on such things as: Is it wrong to wear your football team's jersey to church? When out at a dancehall, do you need to stick with the one that brung ya? Is it real Tex-Mex if it's served with a side of black beans? Can one have too many Texas-themed tattoos?"--Amazon.com.

In 1962, Samuel K. Rubin founded 8mm Collector, the predecessor to Classic Images, a widely respected publication in the vintage film hobby that celebrates the golden age of Hollywood. He was instrumental in beginning the "vintage film fan movement," founding The Society for Cinephiles, as well as organizing the Cinecon vintage film conventions. This is simultaneously a history of the vintage film hobby, a history of Classic Images, and a memoir of Rubin's forty years in the center of the hobby's world. Rubin has drawn from his personal experiences with industry professionals from the silent and early sound era, and from his service during the more than 320 issues of Classic Images published since that magazine's inception. The book covers the birth of 8mm Collector and includes reviews of the classic films, reviews of books and videos of the early screen and profiles of classic film industry personalities. Classic Images still provides a medium for film enthusiasts to share their experiences with different vendors, buy and sell movie memorabilia, and generally covers the entire movie industry from the viewpoint of the collector.