Film journalist Phil Hall traces the convoluted history of how Bigfoot was captured on film.

The essential story as we know it of Roger Patterson's Bigfoot research and the 1967 Bigfoot film at Bluff Creek California. In December 1959 Roger C. Patterson of Tampico, Washington took up the challenge to prove the existence of North America's elusive Sasquatch or Bigfoot creature that for centuries had evaded capture and had never been filmed. At age 26, Patterson attacked the issue with tremendous zeal and enthusiasm. Despite serious health problems, he diligently interviewed witnesses, listened to the stories of native people, read all he could find on the subject and with his partner, Robert Gimlin, explored wilderness areas in the Pacific Northwest. In 1966, Patterson published a book on the subject, Do Abominable Snowmen of America Really Exist? the first book to provide a detailed account of Bigfoot sightings and footprint findings. In October 1967 Patterson and Gimlin captured a Bigfoot on motion picture film in Northern California, the first scientifically authenticated footage of the creature. In less than five year's time, Patterson succumbed to Hodgkins disease and passed away on January 15, 1972. Continually in demand, Patterson's book has had three printings. This, the fourth printing, provides not only the complete Patterson book, but also a detailed account of the filming, its aftermath and a dissertation on the recent controversy regarding the film's authenticity. Full-page color enlargements of the twelve clearest film frames and many supporting photographs/illustrations make this work a highly valuable research resource. The information gathered and assembled by Roger Patterson in his epic work will truly impress the reader. One cannot help but feel this author's passion for the subject and associate with his burning desire to fully substantiate the remarkable accounts he has collected. Chris Murphy's detailed but easy-reading documentation of the filming, its aftermath and the film controversy is both very informative and entertaining. Chris has provided us with a nice clean highly illustrated package. He keeps it frank, simple and factual, saving the reader the trouble of wading through superfluous page fillers.

Essays examining the work of maverick scientific documentary filmmaker Jean Painleve.

A celebration of the most obscure, bizarre, and brain-busting movies ever made, this film guide features 250 in-depth reviews that have escaped the radar of people with taste and the tolerance of critics ― Goregasm! I Was a Teenage Serial Killer! Satan Claus!Die Hard Dracula! Curated by the enthusiastic minds behind BleedingSkull.com, this book gets deep into gutter-level, no-budget horror, from shot-on-VHS revelations (Eyes of the Werewolf) to forgotten outsider art hallucinations (Alien Beasts). Jam-packed with rare photographs, advertisements, and VHS sleeves (most of which have never been seen before), Bleeding Skull is an edifying, laugh-out-loud guide to the dusty inventory of the greatest video store that never existed.

A collection of some of the Pulitzer Prize–winning film critic’s most scathing reviews, from Alex & Emma to the remake of Yours, Mine, and Ours. From Roger’s review of Deuce Bigalow: European Gigolo (0 stars): “The movie created a spot of controversy in February 2005. According to a story by Larry Carroll of MTV News, Rob Schneider took offense when Patrick Goldstein of the Los Angeles Times listed this year's Best Picture nominees and wrote that they were 'ignored, unloved, and turned down flat by most of the same studios that . . . bankroll hundreds of sequels, including a follow-up to Deuce Bigalow: Male Gigolo, a film that was sadly overlooked at Oscar time because apparently nobody had the foresight to invent a category for Best Running Penis Joke Delivered by a Third-Rate Comic.' Schneider retaliated by attacking Goldstein in full-page ads in Daily Variety and the Hollywood Reporter. In an open letter to Goldstein, Schneider wrote: “Well, Mr. Goldstein, I decided to do some research to find out what awards you have won. I went online and found that you have won nothing. Absolutely nothing. No journalistic awards of any kind . . . . Maybe you didn’t win a Pulitzer Prize because they haven’t invented a category for Best Third-Rate, Unfunny Pompous Reporter Who’s Never Been Acknowledged by His Peers . . . .” Schneider was nominated for a 2000 Razzie Award for Worst Supporting Actor but lost to Jar-Jar Binks. But Schneider is correct, and Patrick Goldstein has not yet won a Pulitzer Prize. Therefore, Goldstein is not qualified to complain that Columbia financed Deuce Bigalow: European Gigolo while passing on the opportunity to participate in Million Dollar Baby, Ray, The Aviator, Sideways, and Finding Neverland. As chance would have it, I have won the Pulitzer Prize, and so I am qualified. Speaking in my official capacity as a Pulitzer Prize winner, Mr. Schneider, your movie sucks.” Roger Ebert’s I Hated Hated Hated This Movie, which gathered some of his most scathing reviews, was a bestseller. This collection continues the tradition, reviewing not only movies that were at the bottom of the barrel, but also movies that he found underneath the barrel.

This reprinting of Korine's first novel presents fragments of a portrait in multimedia: print, photographs, drawings, news clippings, handwriting, a poem, attempted diagrams, clip art; but mostly text, including hard-luck stories, off-and-on-colour jokes, script-scraps, found letters, free rhymes, drug flashbacks and other scenes, exploring the world of show-biz with feet set lightly in the black humours of the real ol' world. This excretion of the danglers of public life would make William Burroughs sigh and turn the page, at least.

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