Movie Criticism

In 1969, Illeana Douglas' parents saw the film Easy Rider and were transformed. Taking Dennis Hopper's words - "That's what it's all about, man" - to heart, they abandoned their comfortable upper-middle-class life and gave Illeana a childhood filled with hippies, goats, free spirits, and free love. Illeana writes, "Since it was all out of my control, I began to think of my life as a movie, with a Dennis Hopper-like father at the center of it." I Blame Dennis Hopper is a rollicking, funny, at times tender exploration of the way movies can change our lives.

When the head of Columbia Pictures, David Begelman, got caught forging Cliff Robertson's name on a $10,000 check, it seemed, at first, like a simple case of embezzlement. It wasn't. The incident was the tip of the iceberg, the first hint of a scandal that shook Hollywood and rattled Wall Street.

On December 26, 1973, The Exorcist was released. Within days it had become legend. Moviegoers braved hours-long lines in winter weather to see it. Some audience members famously fainted or vomited. Half a century later, the movie that both inspired and transcends the modern horror genre has lost none of its power to terrify and unsettle. The Exorcist Legacy reveals the complete story of this cultural phenomenon, from the real-life exorcism in 1949 Maryland that inspired William Peter Blatty's bestselling novel on which the movie is based, to its many sequels, prequels, TV series, and homages.

Buster Keaton was a master silent film comedian in the 1920s comparable to Charlie Chaplin. After 15 years, the advent of sound and his personal troubles with alcohol and interference from the studio caused the swift and sudden crash of his career and personal life. Recognized later by film historians and the public for his hilarious movies, Keaton continued to work until his death. In The Persistence of Comedy Imogen Sara Smith brings together all the historical research on Keaton and his films with a discerning, but loving eye and wonderfully readable prose. Illustrated with stills from ...

Beneath the stylized violence and thrilling car crashes, the Mad Max films consider universal questions about the nature of human life, order and anarchy, justice and moral responsibility, society and technology, and ultimately, human redemption. In Mad Max and Philosophy, a diverse team of political scientists, historians, and philosophers investigates the underlying themes of the blockbuster movie franchise, following Max as he attempts to rebuild himself and the world.

In Your Favorite Scary Movie, journalist Ashley Cullins examines the legacy and making of the Scream films with behind-the-scenes insight from cast, creators, and crew, as well as sharp analysis on how the movies’ special blend of gruesome violence and humorous self-awareness rewrote the horror playbook.

The films, the stars, the filmmakers - all get their due in Hollywood Black, a sweeping overview of Blacks in film from the silent era through Black Panther, with striking photos and an engrossing history by award-winning author Donald Bogle.

For almost a century, movie fans have been riveted by the Academy Awards and the stars who have won Oscars. 50 Oscar Nights takes listeners behind the scenes of Hollywood’s most storied awards show through new and exclusive interviews with dozens of A-list actors, filmmakers, and craftspeople spanning sixty years of the Oscars. Here these artists reflect on their winning work and recount all the details of how they got ready, how they felt when they heard their name and got up on stage to accept their award, what they wore, how the entire experience impacted their life, and more.

Al Jolson, born Asa Yoelson, immigrated from a shtetl in Lithuania to the United States in 1894 after his father secured a job as a rabbi in Washington, D.C. A poor, Yiddish-speaking newcomer navigating a racially segregated and antisemitic America, young Jolson dreamed of becoming a star, and he did. Through Jolson, Bernstein simultaneously breaks open the history and legacy of the cultural sensation The Jazz Singer. Not only was The Jazz Singer the first feature-length film with synchronized music and dialogue, but it was also taboo smashing in its content.

Ava is a tribute to a legendary life. Authors Kendra Bean and Anthony Uzarowski take a closer look at the Academy Award-nominated actress' life and famous screen roles. They also shed new light on the creation and maintenance of her glamorous image, her marriages, and friendships with famous figures such as Ernest Hemingway, John Huston, and Tennessee Williams.

Since its publication in 1966, Jacqueline Susann's Valley of the Dolls has reigned as one of the most influential pieces of commercial fiction. Dolls! Dolls! Dolls! digs deep into the creation of that hugely successful film - a journey nearly as cut-throat, sexually charged, tragic, and revelatory as Susann's novel itself - and uncovers how the movie has become a cherished, widely imitated camp classic, thanks to its over-the-top performances, endlessly quotable absurd dialogue, outre costumes and hairdos, despite the high aspirations, money, and talent lavished on it.

Funny, insightful, provocative and engaging, Scott Telek’s movie writing is never boring. Culled from the acclaimed website he ran from 2015 to 2013, these reviews bring attention to under-appreciated cult gems and call out hidden themes in films we think we know. Telek’s point of view on film focuses less on whether a movie is “good” and considers everything equally as a work of creative art, however misguided it may be. He will frequently divert into discussion of the social issues raised by a film or simply pepper his reviews with jokes. His love of the bizarre, subversive, ...

David Bordwell argues that the principles of visual storytelling created in the studio era are alive and well, even in today's bloated blockbusters. American filmmakers have created a durable tradition - one that we should not be ashamed to call artistic, and one that survives in both mainstream entertainment and niche-marketed indie cinema. Bordwell traces the continuity of this tradition in a wide array of films made since 1960.

Best known for his horror/sci-fi/fantasy films including Phantasm, The Beastmaster, Bubba Ho-tep, and John Dies at the End, now Don Coscarelli’s taking you on a white-knuckle ride through the rough and tumble world of indie film. This memoir fits an entire film school education into a single audiobook. It’s loaded with behind-the-scenes stories and will prove indispensable for fans of Coscarelli’s movies, aspiring filmmakers, and anyone who loves a story of an underdog who prevails while not betraying what he believes.

The movies were flying blind in 1980. “New Hollywood” was over and the era of auteur-driven, personal films that had defined moviemaking since the late ‘60s came to a symbolic end with Heaven’s Gate (1980), replaced by a new world of multiplex blockbusters supported by massive marketing campaigns. But beyond the high-school comedies and hardbody action films came a new wave of cinematic excitement—an era defined by Ferris Bueller's Day Off, Purple Rain, When Harry Met Sally, E.T., and Top Gun, each of which are now classics for a new generation of nostalgic movie lovers.

We'll Always Have Casablanca is celebrated film historian Noah Isenberg's rich account of this most beloved movie's origins. Through extensive research and interviews with filmmakers, film critics, family members of the cast and crew, and diehard fans, Isenberg reveals the myths and realities behind Casablanca's production, exploring the transformation of the unproduced stage play into the classic screenplay, the controversial casting decisions, and the effect of the war's progress on the movie's reception.

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.

‘Growing up in the 1970s and 1980s, my window on the world was film, and as a filmmaker, teacher and film critic, I have encountered many people for whom the cinema fulfils the same function.’ This memoir by acclaimed film critic Jon Towlson reflects on the various ways in which film provides a ‘window on the world’ for the author, his students, people he has known and the community to which he belongs. Discussing a range of cinema-related activities, from film societies to film workshops, cine clubs, film education classes, repertory cinemas and home video, Towlson explores the ...

In the summer of 1970, legendary but self-destructive director Orson Welles returned to Hollywood from years of self-imposed exile in Europe and decided it was time to make a comeback movie. It was about a legendary self-destructive director who returns to Hollywood from years of self-imposed exile in Europe. Welles swore it wasn't autobiographical.

Fans of Scott Telek’s film writing have come to expect an irreverent, insightful and often outrageously funny take on films from the good to the very, very bad. The tradition continues in this fourth volume, archiving 43 movie reviews in the horror genre, all beginning with the letter D. It turns out the letter D is a good one for horror, as it contains the words “Dead,” “Don’t,” “Demon” and “Dracula.” And if you were trapped on a desert island with these movies (as well as fresh water, food and a TV and DVD player!) you would actually be doing pretty well, as many fine ...