Kevin Murphy made it his obsession, and he did it for you.Mr. Murphy, known to legions of fans as Tom Servo on the legendary TV series Mystery Science Theater 3000, went to the movies every day for a year. That's every single day, people. For a whole fricken' year. And not only did he endure, he prevailed -- for this is the hilarious, poignant, fascinating journal of his adventures: the first book about the movies from the audience's point of view.Kevin went to the multiplex, sure. But he didn't stop there. He found the world's smallest commercial movie theater. Another one made completely of ice. Checked out flicks in a tin-roofed hut in the South Pacific. Tooled across the desert from drive-in to drive-in in a groovy convertible. Lived for a week solely on theater food. Took six different women to the same date movie. Dressed up as a nun for the Sing-Along Sound of Music in London. Sneaked into the Cannes and Sundance film festivals. Smuggled an entire Thanksgiving dinner into a movie theater. And saw hundreds of films, from the Arctic Circle to the Equator, from the sublime to the unspeakable. Come along on a joyous global celebration of the cinema with a man on a mission -- to spend A Year at the Movies.

    His portrayal of the child murderer in Fritz Lang's masterpiece M (1931) catapulted him to international fame. Lang said of Lorre: "He gave one of the best performances in film history and certainly the best in his life." Today, the Hungarian-born actor is also recognized fo

    Depicting deep-rooted, even archetypal fears, while at the same time exploiting socially and culturally specific anxieties, cinematic horror is at once timeless and utterly of its time and place. This exciting visual history, which includes unique images from the David Del Valle archive, examines the genre in thematic, historical, and aesthetic terms, breaking it down into the following fundamental categories: Slashers & Serial Killers; Cannibals, Freaks & Hillbillys; Revenge of Nature & Environmental Horror; Sci-fi Horror; The Living Dead; Ghosts & Haunted Houses; Possession, Demons & Evil Tricksters; Voodoo, Cults & Satanists; Vampires & Werewolves; and The Monstrous-Feminine. Among the many films featured are classics such as Psycho, Texas Chainsaw Massacre, Alien, The Exorcist, Dracula, and The Wicker Man.

    Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero - the figure, often a female, who suffers pain and fright but eventually rises to vanquish the forces of oppression.

    Embraced as a cultural touchstone, the 1993 film would also make Matthew McConaughey’s famous phrase—alright, alright, alright—ubiquitous. But it started with a simple idea: Linklater thought people might like to watch a movie about high school kids just hanging out and listening to music on the last day of school in 1976.    To some, that might not even sound like a movie. But to a few studio executives, it sounded enough like the next American Graffiti to justify the risk. Dazed and Confused underperformed at the box office and seemed destined to disappear. Then something weird happened: Linklater turned out to be right. This wasn’t the kind of movie everybody liked, but it was the kind of movie certain people loved, with an intensity that felt personal. No matter what their high school experience was like, they thought Dazed and Confused was about them.Alright, Alright, Alright is the story of how this iconic film came together and why it worked. Combining behind-the-scenes photos and insights from nearly the entire cast, including Matthew McConaughey, Parker Posey, Ben Affleck, Joey Lauren Adams, and many others, and with full access to Linklater’s Dazed archives, it offers an inside look at how a budding filmmaker and a cast of newcomers made a period piece that would feel timeless for decades to come.

    THE MOST COMPREHENSIVE ZOMBIE HANDBOOK EVER PUBLISHED In one indispensable volume, Matt Mogk, founder and head of the Zombie Research Society, busts popular myths and answers all your raging questions about the living dead.

    The legendary Jay Ward and Bill Scott produced the gleeful wonder and cumulative joy that transcended the crude drawings and occasionally muddy sound. Jay Ward was the magnificent visionary, the outrageous showman, while Bill Scott was the genial, brilliant head writer, coproducer, and all-purpose creative whirlwind. With exclusive interviews, original scripts, artwork, story notes, letters and memos, Keith Scott has written the definitive history of Jay Ward Productions.The Moose That Roared tells the story of a rare and magical relationship between two artists wildly, exuberantly ahead of their time, and a fascinating account of the struggle to bring their vision of bad puns and talking animals to unforgettable life.

    Now, for the first time and in their own words, over two hundred alumni of the series recall a quarter century's worth of never-before-told tales. Filled with all the backstage stories, struggles and controversies behind the onscreen mayhem, this candid and exhaustive history takes you inside the record-breaking franchise like no book ever has.

    Many films later, he still works outside the studio system and guides every phase of his productions.Now Sayles has written an illuminating book about the complex choices that lie at the heart of every movie. Using the making of his film Matewan as an example, he offers chapters on screenwriting, directing, editing, sound, and more. Photographs, sketches, and the complete shooting script illustrate this engaging account of how Sayles's curiosity about a coal miners' strike in the town of Matewan, West Virginia, became a screenplay--and then a movie.

    It wasn’t drugs, alcohol, or sex: it was film. After moving to Los Angeles, Oswalt became a huge film buff (or as he calls it, a sprocket fiend), absorbing classics, cult hits, and new releases at the famous New Beverly Cinema. Silver screen celluloid became Patton’s life schoolbook, informing his notion of acting, writing, comedy, and relationships.Set in the nascent days of LA’s alternative comedy scene, Silver Screen Fiend chronicles Oswalt’s journey from fledgling stand-up comedian to self-assured sitcom actor, with the colorful New Beverly collective and a cast of now-notable young comedians supporting him all along the way.

    This is a biography of the ascerbic and witty film critic Pauline Kael.

    Plus hundreds of stills, posters, covers, candid shots and images, many in full color! The most comprehensive and insane book ever made about punk and/or movies!!!

    Acclaimed as both actor and director, as well as for his musical compositions, he’s won multiple Oscars for his achievements in front of and behind the camera and has established himself as a true cinematic great. This stunning volume presents a chronological look at his astonishing body of work, from the early “spaghetti westerns” to his iconic role as “Dirty” Harry Callahan in Dirty Harry (1971), to the soulful Bird (1988) and the revolutionary western Unforgiven (1992) through to more recent films such as the Academy Award-winning Mystic River (2003) and Million Dollar Baby (2004), and his latest picture, the rousing drama Invictus, starring Matt Damon and Morgan Freeman, which was released in December 2009. Over 300 spectacular images, including dynamic stills from memorable screen performances and revealing behind-the-scenes photos, are accompanied by Richard Schickel’s incisive and illuminating commentary.

    "Never go to a meeting without a strategy."  "Ride the horse in the direction it's going."  These are just two of the gems unearthed from the trenches of Hollywood by Lynda Obst, one of the most successful producers in the  movie business today.  In Hello, He Lied, Obst offers real, practical advice to would-be professionals in any field: "Thou shalt not cry at work," "thou shalt not appear tough," "thou shalt return all thy phone calls," and more.  She takes us inside high-pressure meetings with David Geffen, onto the set of Sleepless in Seattle, and into the heated negotiations for The Hot Zone and reveals what she's learned in more than twenty years in the business: how to swim with the sharks--and not get eaten.

    In this first collection of Harlan Ellison's cinema criticism (with expanded, never-before-collected articles as well as an essay written especially for this volume) come from the darkened interiors of a thousand movie houses where this most peculiar of all Observers of the Passing Scene has spent much of his life. The view is guaranteed to make you grind your teeth in anger, nod your head in blessed agreement, and open your eyes in a manner of judging films that is definitely not plebeian. Harlan Ellison's love affair with movies is obvious. As an essayist, he has no equal; as a film critic he has no friends. Take care.