It covers such characters as Buster Keaton, Charlie Chaplin, Harold Lloyd and Laurel and Hardy.

    But with the arrival of the internet, have the critics finally fallen under the axe? With movie posters now just as likely to be adorned by Twitter quotes as fusty reviewer recommendations, has the rise of enthusiastic amateurism sounded the death knell of a profession? Are the democratic opportunities of the internet any more reliable than the old gripes and prejudices of the establishment? Can editing really be done by robots? And what kind of films would we have if we listened to what the audience thinks it wants? Starting with the celebrated TV fight between film-maker Ken Russell and critic Alexander Walker (the former hit the latter with a rolled-up copy of his Evening Standard review on live television) and ending with his own admission to Steven Spielberg of a major error of judgement, Mark Kermode takes us on a journey across the modern cinematic landscape. Like its predecessor, The Good, The Bad and The Multiplex, Hatchet Job blends historical analysis with trenchant opinion, bitter personal prejudices, autobiographical diversions and anecdotes, and laugh-out-loud acerbic humour. It's the perfect book for anyone who's ever expressed an opinion about a movie.

    Taking the form of a diary, this vibrant graphic novel takes the reader from Goodfellas to The Goonies, Harry Potter to Apocalypse Now in a zany and hilarious exploration of the movies that have shaped Cavolo's life and the lives of his generation.

    For the first time, one book unearths all the details of his turbulent adventures in Tinseltown. Based on extensive interviews with producers, screenwriters, cast members, and crew, Superman vs. Hollywood spills the beans on Marlon Brando’s eccentricities; the challenges of making Superman appear to fly; the casting process that at various points had Superman being played by Sylvester Stallone, Neil Diamond, Nicolas Cage, Ashton Kutcher, and even Muhammad Ali; and the Superman movies, fashioned by such maverick filmmakers as Kevin Smith and Tim Burton, that never made it to the screen.

    Though at first Star Wars seems a simple fairy-tale, it becomes far more complex when we realize that the director is rooting for both sides, creating a tension unsettles the saga as a whole and illuminates new sides of Lucas' masterpiece.

     When Moray Allen is left in charge of Muir Castle the fortnight before Yule, he doesn't anticipate any excitement. The excitement is all down south, where the Grant and Ramsay cousins are embroiled in their final battle with the Channel of Dubh, smugglers who trade in human cargo. But the chieftain hasn’t been gone for more than a day when Moray spots a golden-haired lass in the wilds surrounding Castle Muir. He suspects she’s lost and in need of food, but she runs from him. Meanwhile, the chieftain’s son, Steenie, is preparing for Yule with his beloved pet, Paddy, who seems to have his own plans for the holiday--plans that involve the mysterious stranger. Although Shona escaped the Channel of Dubh with her brother and three other bairns, she knows they’re not safe. Their food supply has run out and winter weather is settling in across the Highlands, seeping into the cave they're using for shelter. To protect herself and the others, Shona must place her faith in someone, although she’s hesitant to trust any man, even the handsome Highlander she keeps seeing. Moray and Shona are both in need of a little Yuletide magic. Who better to help them than Paddy the Pony?

     Nesta was a consort to King Henry I, wife to Gerald of Pembroke and the captive-lover to Owain of Poweys. She is thought to be the original mother to the Tudor and Stuart Dynasties which Princess Diana and John F Kennedy are both descendants.

    The story of two white-collar managers, Chad and Howard, who maliciously plot to jointly romance the lonely, deaf, beautiful office temp Christine before simultaneously dumping her, is cool and compelling in its depiction of the worst sorts of emotional abuse. What begins as a cat-and-mouse game of one-upmanship quickly escalates into full-scale psychological warfare. Only too late does this 'frat boy' prank reveal itself as deadly serious, with a struggle between the two men at the heart of the battle. The woman is only a means to an end, a pawn easily captured and tossed aside in a dark, wicked duel for corporate ascension.

    The book also analyzes the complex and problematic films of Brian De Palma, attacks the 1980s fantasy cinema of Lucas and Spielberg, examines the work of women directors, and celebrates the films of Scorcese and Michael Cimino.

    Owen Gleiberman has spent his life watching movies-first at the drive-in, where his parents took him to see wildly inappropriate adult fare like Rosemary's Baby when he was a wide-eyed 9 year old, then as a possessed cinemaniac who became a film critic right out of college. In Movie Freak, his enthrallingly candid, funny, and eye-opening memoir, Gleiberman captures what it's like to live life through the movies, existing in thrall to a virtual reality that becomes, over time, more real than reality itself. Gleiberman paints a bittersweet portrait of his complicated and ultimately doomed friendship with Pauline Kael, the legendary New Yorker film critic who was his mentor and muse. He also offers an unprecedented inside look at what the experience of being a critic is really all about, detailing his stint at The Boston Phoenix and then, starting in 1990, at EW, where he becomes a voice of obsession battling-to a fault-to cling to his independence. Gleiberman explores the movies that shaped him, from the films that first made him want to be a critic (Nashville and Carrie), to what he hails as the sublime dark trilogy of the 1980s (Blue Velvet, Sid and Nancy, and Manhunter), to the scruffy humanity of Dazed and Confused, to the brilliant madness of Natural Born Killers, to the transcendence of Breaking the Waves, to the pop rapture of Moulin Rouge! He explores his partnership with Lisa Schwarzbaum and his friendships and encounters with such figures as Oliver Stone, Russell Crowe, Richard Linklater, and Ben Affleck. He also writes with confessional intimacy about his romantic relationships and how they echoed the behavior of his bullying, philandering father. And he talks about what film criticism is becoming in the digital age: a cacophony of voices threatened by an insidious new kind of groupthink. Ultimately, Movie Freak is about the primal pleasure of film and the enigmatic dynamic between critic and screen. For Gleiberman, the moving image has a talismanic power, but it also represents a kind of sweet sickness, a magnificent obsession that both consumes and propels him.

    This text shows how The Big Sleep signalled a change in the nature of Hollywood cinema, as the director Howard Hawks shot extra scenes, "fun" scenes, to replace the ones in which the murders are explained, and in so doing left the plot unresolved.

    Two nations. One crown. 1328. After years of civil unrest between England and France, Charles IV dies, leaving no apparent heir. His closest heir to the throne is Edward III of England, but it passes instead to Charles' cousin, Phillip, spurring both countries on to war.1346. Landing at Normandy, Edward's immense army makes inroads into French territory, burning everything in their path. But the mysterious assassination of an English knight reveals a terrible truth: there is a traitor in their midst. The king charges Simon Merrivale, the Prince of Wales’ herald, with solving the case.As the army marches on towards its destiny, at the awesome scenes of the Battle of Crécy, Simon will uncover a conspiracy that goes to the heart of the warring nations. Among the ashes and the rubble, their fate will be decided: on the battlefield... and in the shadows.

    Spellbound by Beauty offers important insights into the life of a brilliant, powerful, eccentric and tortured artist, and it corrects a major gap in movie history by paying tribute at last to those extraordinarily talented actresses who gave so much to his films.

    Kael called movies "the most total and encompassing art form we have," and she made her reviews a platform for considering both film and the worlds it engages, crafting in the process a prose style of extraordinary wit, precision, and improvisatory grace. To read The Age of Movies, the first new selection in more than a generation, is to be swept up into an endlessly revealing and entertaining dialogue with Kael at her witty, exhilarating, and opinionated best. Her ability to evoke the essence of a great artist-an Orson Welles or a Robert Altman-or to celebrate the way even seeming trash could tap deeply into our emotions was matched by her unwavering eye for the scams and self-deceptions of a corrupt movie industry. Here in this career spanning collection are her appraisals of the films that defined an era-among them Breathless, Bonnie and Clyde, The Leopard, The Godfather, Last Tango in Paris, Nashville-along with many others, some awaiting rediscovery, all providing the occasion for masterpieces of observation and insight, alive on every page.

    Britain's underbelly was exposed.The Dark Ages had begun... Rome had abandoned Britannia, leaving its people undefended. Anglo Saxon warriors, previously employed as mercenaries, now saw themselves as conquerors. The scene was set, as more war bands crossed the North Sea to take British gold, slaves, and land. One Briton, alone in the forest, wanting only to live as a hunter and trapper, was about to have his life changed forever. Dominic would become the hope of abandoned Britons. Dominic the wolf slayer would become the nemesis of any evil that entered his forest realm.