It’s clear that cinema is as healthy as ever. Oscar-worthy directors, indie geniuses and foreign artists are creating stunning, boundary-pushing work. Since the turn of the century, movie lovers have been enjoying a second golden age. But which films are the best of the best? What are the top movies since 2000 to see before you die? Chris Stuckmann, one of YouTube’s most popular film reviewers (70+ million views) gives us his best of the best! In his book debut, Stuckmann delivers his list of the very best 50 Movies since 2000 – with that style and punch that YouTube viewers have come to love. These are the films you must see before you die.

    . . a seminal work of cinema description and analysis and therefore an essential purchase for most libraries." —From the Starred Review in Library JournalRaymond Borde (1920 - 2004), founder of the Cinémathèque de Toulouse, wrote extensively on film history.; among his short films is a study of the artist Pierre Molinier.Etienne Chaumeton was the film critic of the Toulouse newspaper La Dépêche until his death.

    Through his long and distinguished career he managed, like very few others in the teeth of a huge and relentless industry, to elevate each of his films to a distinctive level of art. His Rashomon—one of the best-remembered and most talked-of films in any language—was a revelation when it appeared in 1950 and did much to bring Japanese cinema to the world's attention. Kurosawa's films display an extraordinary breadth and an astonishing strength, from the philosophic and sexual complexity of Rashomon to the moral dedication of Ikiru, from the naked violence of Seven Samurai to the savage comedy of Yojimbo, from the terror-filled feudalism of Throne of Blood to the piercing wit of Sanjuro.

    Colin McGinn–“an ingenious philosopher who thinks like a laser and writes like a dream,” according to Steven Pinker–enhances our understanding of both movies and ourselves in this book of rare and refreshing insight.

    New in this edition are entries to describe such film hits as "Lord of the Rings", "Mystic River", "Fahrenheit 9/11", and "Million Dollar Baby". But in fact, this volume's team of critics goes back to 1902, describing such films as "The Great Train Robbery", and progressing chronologically across the decades to cover the best cinematic dramas, comedies, westerns, musicals, suspense and horror films, gangster classics, "films noirs", sci-fi epics, documentaries, and adaptations of novels and stage plays made by filmmakers around the world. Movie fans will find descriptions of great musicals like "Singing in the Rain", westerns like "High Noon", science-fiction classics like "Star Wars", dramas like "Chinatown" and "Schindler's List", and international classics from master directors who include Fellini, Antonioni, Resnais, Truffaut, Eisenstein, Kurosawa, and many others.Each entry includes a full list of cast and credits, awards won by the film, an essay summarizing the story line and screen-history, and still shots of the film's memorable scenes. At the back of the book, both an alphabetical index and a genre index will help readers find any film they're looking for. The book is illustrated with hundreds of movie still shots in color and black and white.

    Mark Cousins’s chronological journey through the worldwide history of film is told from the point of view of filmmakers and moviegoers. Weaving personalities, film technology, and production with engaging descriptions of groundbreaking scenes, Cousins uses his experience as film historian, producer, and director to capture the shifting trends of movie history. We learn how filmmakers influenced each other; how contemporary events influenced them; how they challenged established techniques and developed new technologies to enhance their medium. Striking images reinforce the reader’s understanding of cinematic innovation, both stylistic and technical. The images reveal astonishing parallels in global filmmaking, thus introducing the less familiar worlds of African, Asian, and Middle Eastern cinema, as well as documenting the fortunes of the best Western directors. The Story of Film presents Silent (1885-1928), Sound (1928-1990), and Digital (1990-present), spanning the birth of the moving image; the establishment of Hollywood; the European avant-garde movements, personal filmmaking; world cinema; and recent phenomena like Computer Generated Imagery and the ever-more “real” realizations of the wildest of imaginations. The Story of Film explores what has today become the world’s most popular artistic medium.

    The film is situated in terms of the debates about postmodernism which have informed the large body of criticism devoted to it.

    In the book Wenders moves from a contemplation of pure cinema, to a consideration and analysis of his own films. Beginning with the question: Why do you make films?, Wenders expresses his own unique approach to cinema.

    In the book he argues that a new, expanded cinema is required for a new consciousness. He describes various types of filmmaking utilising new technology, including film special effects, computer art, video art, multi-media environments and holography." - wikipedia

    Then two stars came along: Greta Garbo, who turned the femme fatale into a woman whose capacity for love and sacrifice made all other human emotions seem pale; and Norma Shearer, who succeeded in taking the ingenue to a place she'd never been: the bedroom. In their wake came a deluge of other complicated women-Marlene Dietrich, Jean Harlow, and Mae West, to name a few. Then, in July 1934, the draconian Production Code became the law in Hollywood and these modern women of the screen were banished, not to be seen again until the code was repealed three decades later.A thorough survey and a tribute to these films, Complicated Women reveals how this was the true Golden Age of women's films.

    Winner of Best Non-Fiction for 2002 Award from the Los Angeles Times Book Review! Samuel Fuller was one of the most prolific and independent writer-director-producers in Hollywood. His 29 tough, gritty films made from 1949 to 1989 set out to capture the truth of war, racism and human frailties, and incorporate some of his own experiences. His film Park Row was inspired by his years in the New York newspaper business, where his beat included murders, suicides, state executions and race riots. He writes about hitchhiking across the country at the height of the Great Depression. His years in the army in World War II are captured in his hugely successful pictures The Big Red One, The Steel Helmet and Merrill's Marauders . Fuller's other films include Pickup on South Street; Underworld U.S.A., a movie that shows how gangsters in the 1960s were seen as "respected" tax-paying executives; Shock Corridor, which exposed the conditions in mental institutions; and White Dog, written in collaboration with Curtis Hanson ( L.A. Confidential ), a film so controversial that Paramount's then studio heads Jeffrey Katzenberg and Michael Eisner refused to release it. In addition to his work in film, Samuel Fuller (1911-1997) wrote eleven novels. He lived in Los Angeles with his wife and their daughter. A Third Face was completed by Jerome Henry Rudes, Fuller's longtime friend, and his wife, Christa Lang Fuller. "Fuller wasn't one for tactful understatement and his hot-blooded, incident-packed autobiography is accordingly blunt ... A Third Face is a grand, lively, rambunctious memoir." Janet Maslin, The New York Times; "Fuller's last work is a joy and an important addition to film and popular culture literature." Publishers Weekly; "If you don't like the films of Sam Fuller, then you just don't like cinema." Martin Scorsese, from the book's introduction

    Loved by fans and reviled by critics for its iconic psychopaths, gory special effects, brainless teenagers in peril, and more than a bit of soft-core sex, the slasher film secured its legacy as a cultural phenomenon and continues to be popular today. This work traces the evolution of the slasher film from 1978 when it was a fledgling genre, through the early 1980s when it was one of the most profitable and prolific genres in Hollywood, on to its decline in popularity around 1986. An introduction provides a brief history of the Grand Guignol, the pre-cinema forerunner of the slasher film, films such as Psycho and The Texas Chainsaw Massacre, and cinematic trends that gave rise to the slasher film. Also explained are the slasher film's characteristics, conventions, and cinematic devices, such as the "final girl," the omnipotent killer, the relationship between sex and death, the significant date or setting, and the point-of-view of the killer. The chapters that follow are devoted to the years 1978 through 1986 and analyze significant films from each year. The Toolbox Murders, When a Stranger Calls, the Friday the 13th movies, My Bloody Valentine, The Slumber Party Massacre, Psycho II, and April Fool's Day are among those analyzed. The late 90s resurrection of slasher films, as seen in Scream and I Know What You Did Last Summer, is also explored, as well as the future direction of slasher films.

    Jay Slater explains how the myth of the Haitian walking dead (zombies) merged with legends of third-world cannibalism to create such gruesome zombie cult films as Cannibal Holocaust, an acknowledged influence on The Blair Witch Project.

    The magic of the silent screen, illuminated by the recollections of those who created it.A narrative and photographic history of the early days of the movies, combining fact, anecdote, and reminiscence in a critical survey of films, actors, directors, producers, writers, editors, technicians, and other participants and hangers-on.

    Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state with austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment. This important book is an original contribution to film analysis and a key work by one of our most searching directors and writers.