A paperback guide to 100 of the funniest bad movies ever made, this book covers a wide range of hopeless Hollywood product, and also including rare Razzie ceremony photos and a complete history of everything ever nominated for Tinsel Town's Tackiest Trophy.

    Of the scripts included here, Barton Fink--an intense look at the psychological ruin of a New York playwright trying to make it in 1940s Hollywood--is a masterful culmination of these themes.

    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.

    Rashomon, which won both the Venice Film Festival's grand prize and an Academy Award for best foreign-language film, helped ignite Western interest in the Japanese cinema. Seven Samurai and Yojimbo remain enormously popular both in Japan and abroad. In this newly revised and expanded edition of his study of Kurosawa's films, Stephen Prince provides two new chapters that examine Kurosawa's remaining films, placing him in the context of cinema history. Prince also discusses how Kurosawa furnished a template for some well-known Hollywood directors, including Martin Scorsese, Steven Spielberg, and George Lucas.Providing a new and comprehensive look at this master filmmaker, The Warrior's Camera probes the complex visual structure of Kurosawa's work. The book shows how Kurosawa attempted to symbolize on film a course of national development for post-war Japan, and it traces the ways that he tied his social visions to a dynamic system of visual and narrative forms. The author analyzes Kurosawa's entire career and places the films in context by drawing on the director's autobiography--a fascinating work that presents Kurosawa as a Kurosawa character and the story of his life as the kind of spiritual odyssey witnessed so often in his films. After examining the development of Kurosawa's visual style in his early work, The Warrior's Camera explains how he used this style in subsequent films to forge a politically committed model of filmmaking. It then demonstrates how the collapse of Kurosawa's efforts to participate as a filmmaker in the tasks of social reconstruction led to the very different cinematic style evident in his most recent films, works of pessimism that view the world as resistant to change.

    From Zanjeer to Deewaar and Sholay to Shakti, their creative output changed the destinies of several actors and filmmakers and even made a cultural phenomenon of the Angry Young Man. Even after they decided to part ways, success continued to court them-a testament not only to their impeccable talent and professional ethos, but also their enterprising showmanship and business acumen. Fizzing with energy and brimming over with enough trivia to delight a cinephile's heart, Written by Salim-Javed tells the story of a dynamic partnership that transformed Hindi cinema forever.

    Its fans tend to be fanatical, congregating at 'Lebowski Conventions' in bowling alleys across American and Britain, and even dressing up as characters from the film. Among the funniest films of the last twenty-five years, and one of the high-water marks of 1990s genre recycling and pastiche, The Big Lebowski is also littered with playful and subversive references to film history, especially to Raymond Chandler's world of hardboiled detective classics and the world of film noir. The Big Lebowski is the rarest kind of film, a comedy whose jokes become funnier with repetition. The same goes for its multitudinous jukebox-like references to other films, many of which open up vistas for intertextual interpretation. Underneath the film's breakneck pacing and foul-mouthed characters, a farcical collection of flakes, losers, and phonies, is a surprisingly humane account of what fools we mortals be. It is one of the oddest buddy films ever made, with extraordinary performances by Jeff Bridges and John Goodman. In this study, The Big Lebowski is set into the context of 1990s Hollywood cinema, anatomised for its witty relationship with the classics which it satirises, and discussed in terms of its key theme: the hopeless flailing of ridiculously unmanly men in the world of discombobulated, mixed-up, or put-on identities that is Los Angeles.

    He’s also a former professor of American Studies who writes in-depth profiles about film and music legends who changed our culture.Few film actors had the lasting popularity of John Wayne, especially in westerns. During his lifetime, Wayne was a top-ten box office star for twenty-four years. Three decades after his death, a 2012 Harris poll continued to place him among the top 5 most-liked film actors. In this comprehensive essay, award-winner David Morrell analyzes Wayne’s career in westerns and explores his fascinating personality, including his Latin studies in high school and his skills as a chess player. Even Wayne’s most knowledgeable fans will be surprised by this insightful study.Morrell’s fascination with Wayne motivated him to use this iconic actor as the inspiration for the main character of a historical novel LAST REVEILLE, which dramatizes America’s 1916 invasion of Mexico, supposedly to pursue the Mexican bandit, Pancho Villa, but actually to practice military exercises for America’s entry into World War I.Critical reaction:“John Wayne: the name still conjures political reaction and cinematic fascination. In this excellent e-essay, author David Morrell (First Blood) presents a thorough and evenhanded consideration of Wayne and his Westerns, from THE BIG TRAIL (1930) to THE SHOOTIST (1976). He’s precise about the narrative problems in THE SEARCHERS, insightful regarding the remarkable emotional range Wayne demonstrates in THE MAN WHO SHOT LIBERTY VALANCE, and mystified at the meaning critics find in RIO BRAVO. While also examining Wayne’s drinking (16 martinis before a Thanksgiving dinner), smoking (five packs a day on THE ALAMO) and expertise as a chess player, Morrell allows us to appreciate and understand how Wayne, ‘an undeniable phenomenon,’ helped create that unique film category: John Wayne Westerns.”—Tom Clagett, ROUNDUP MAGAZINE (WESTERN WRITERS OF AMERICA)David Morrell is the award-winning author of First Blood, the novel in which Rambo was created. A former professor of American literature at the University of Iowa, he has written numerous New York Times bestsellers, including the classic Brotherhood of the Rose spy trilogy. The main character in Morrell’s western novel, Last Reveille, was inspired by Wayne’s career. “David Morrell is, to me, the finest thriller writer living today, bar none.”—Steve Berry, New York Times bestselling author of The Columbus Affair“Morrell, an absolute master of the thriller, plays by his on rules and leaves you dazzled.”—Dean Koontz, New York Times bestselling author of 77 Shadow Street

    (“Every single frame,” declared Cate Blanchett, “is burned into my retina.”) As Dyer guides us into the zone of Tarkovsky’s imagination, we realize that the film is only the entry point for a radically original investigation of the enduring questions of life, faith, and how to live. In a narrative that gives free rein to the brilliance of Dyer’s distinctive voice—acute observation, melancholy, comedy, lyricism, and occasional ill-temper—Zona takes us on a wonderfully unpredictable journey in which we try to fathom, and realize, our deepest wishes.Zona is one of the most unusual books ever written about film, and about how art—whether a film by a Russian director or a book by one of our most gifted contemporary writers—can shape the way we see the world and how we make our way through it.

    In this cultural examination of American film noir, poet and novelist Nicholas Christopher contrasts the nightmare world of the genre with the sunny unreality of American popular culture, presenting a fresh view of its meaning for our time.

    It has been celebrated for its beauty and mystery, its realistic depiction of space travel and dazzling display of visual effects, the breathtaking scope of its story, which reaches across millions of years, and the thought-provoking depth of its meditation on evolution, technology and humanity's encounters with the unknown. 2001 has been described as the most expensive avant-garde movie ever made and as a psychedelic trip, a unique expression of the spirit of the 1960s and as a timeless masterpiece. Peter Krämer's insightful study explores the complex origins of the film, the unique shape it took and the extraordinary impact it made on contemporary audiences. Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Krämer challenges many of the widely-held assumptions about the film. He argues that 2001 was Kubrick's attempt to counter the deep pessimism of his previous film, Dr Strangelove (1964), which culminates in the explosion of a nuclear 'doomsday' device, with a more hopeful vision of humanity's future, facilitated by the intervention of mysterious extra-terrestrial artifacts. This study traces the project's development from the first letter Kubrick wrote to his future collaborator Arthur C. Clarke in March 1964 all the way to the dramatic changes Kubrick made to the film shortly before its release by MGM in April 1968. Krämer shows that, despite – or, perhaps, because of – Kubrick's daring last-minute decision to turn the film itself into a mysterious artifact, 2001 was an instant success with both critics and general audiences, and has exerted enormous influence over Hollywood's output of science fiction movies ever since. The book argues that 2001 invites us to enjoy and contemplate its sounds and images over and over again, and, if we are so inclined, to take away from it an important message of hope.

    Now you can share in the Master of Suspense's inspiration and development -- his entire creative process -- in Hitchcock's Notebooks.With the complete cooperation of the Hitchcock estate and access to the director's notebooks, journals, and archives, Dan Auiler takes you from the very beginnings of story creation to the master's final touches during post-production and publicity. Actual production notes from Hitchcock's masterpieces join detailed interviews with key production personnel, including writers, actors and actresses, and Hitchcock's personal assistant of more than thirty years.Mirroring the director's working methods to give you the actual feel of his process, and highlighted by nearly nearly one hundred photographs and illustrations, this is the definitive guide into the mind of a cinematic legend.

    1946) is perhaps the best known of all cult directors, whose Mulholland Drive marks cinema's arrival to the 21st century. His career began more than 30 years ago, with the groundbreaking, mystifying "Eraserhead" (1977). With "Blue Velvet" (1986), "Wild at Heart" (1990) and "Lost Highway" (1997) Lynch breathed new life into the sensory experiences of film audiences and disrupted narrative logic to mysterious and mystifying effect. In the early 1990s, he invented a new TV series genre with "Twin Peaks". Although he is a Hollywood director, Lynch works at the edges of the studio system, exploring the many facets of his artistic talent, whose creations, including photography, painting and music, are now making their way into museums and galleries.

    In his films, Solaris, Mirror, Stalker and The Sacrifice, Tarkovsky defined a new way of looking at the world. His non-realistic, highly-charged images are a continuing source of inspiration - not only for a new generation of film-makers, but also for poets, musicians and painters. This volume collects his great works for the first time in one volume, as well as three of his unproduced screenplays. This material provides a unique glimpse into the way Tarkovsky's vision evolved from the printed text to its final form on celluloid. The book also contains an extended essay by film critic and historian Ian Christie, who places Tarkovsky's work in the context of Soviet film-making practice.

    The Cenobites soon returned, and their leader, the chilling Pinhead (played by Doug Bradley), became an worldwide icon.The Hellraiser Chronicles is a beautifully produced, full colour photographic companion to Hellraiser, Hellbound: Hellraiser II and Hellraiser III: Hell on Earth. It features stunning, specially shot portrait photography unavailable elsewhere, plus script extracts, design sketches, behind-the-scenes stills and interviews. The only official Hellraiser book, it is a must for all fans of the series.Time to play"

    Most of us know the man only through the characters that he has played: Roohdaar in Haider, Maqbool in the eponymous film, Rana in Piku, Saajan in The Lunchbox, and of course, Ashoke in The Namesake. Today, these characters have made him a recognized name around the world.Irrfan Khan is an intimate and meticulously researched account of this refreshingly unique and unconventional Indian icon. Drawn from personal interviews and told through many voices, Aseem Chhabra traces Irrfan’s personal and artistic life in all its many shades. Rich in detail and peppered with anecdotes, it is a fascinating look at the life and work of the actor that begins in a small household in Rajasthan and culminates in his face gazing down from billboards in Hollywood. It explores some of his greatest performances that have shown India and the world what cinema can do. At the heart of this story, however, is a man, possibly the finest actor of his generation, his passion for the craft of acting and his love for unusual characters.