Summer blockbusters and independent sleepers; masterworks of Alfred Hitchcock, Billy Wilder, and Martin Scorsese; the timeless comedy of the Marx Brothers and Buster Keaton; animated classics from Walt Disney and Pixar; the finest foreign films ever made. This 2014 edition covers the modern era, from 1965 to the present, while including all the great older films you can’t afford to miss—and those you can—from box-office smashes to cult classics to forgotten gems to forgettable bombs, listed alphabetically, and complete with all the essential information you could ask for. NEW Nearly 16,000 capsule movie reviews, with more than 300 new entries NEW More than 25,000 DVD and video listings NEW Up-to-date list of mail-order and online sources for buying and renting DVDs and videos NEW Completely updated index of leading performers MORE Official motion picture code ratings from G to NC-17 MORE Old and new theatrical and video releases rated **** to BOMB MORE Exact running times—an invaluable guide for recording and for discovering which movies have been edited MORE Reviews of little-known sleepers, foreign films, rarities, and classics AND Leonard’s all-new personal recommendations for movie lovers • Date of release, running time, director, stars, MPAA ratings, color or black-and-white • Concise summary, capsule review, and four-star-to-BOMB rating system • Precise information on films shot in widescreen format • Symbols for DVDs, videos, and laserdiscs • Completely updated index of leading actors • Up-to-date list of mail-order and online sources for buying and renting DVDs and videos

Previously published as Leonard Maltin’s 2015 Movie Guide, this capstone edition includes a new Introduction by the author. (Note: No new reviews have been added to this edition) Now that streaming services like Netflix and Hulu can deliver thousands of movies at the touch of a button, the only question is: What should I watch? Summer blockbusters and independent sleepers; the masterworks of Alfred Hitchcock, Billy Wilder, and Martin Scorsese; the timeless comedy of the Marx Brothers and Woody Allen; animated classics from Walt Disney and Pixar; the finest foreign films ever made. This capstone edition covers the modern era while including all the great older films you can’t afford to miss—and those you can—from box-office smashes to cult classics to forgotten gems to forgettable bombs, listed alphabetically, and complete with all the essential information you could ask for. With nearly 16,000 entries and more than 13,000 DVD listings, Leonard Maltin's Movie Guide remains “head and shoulders above the rest.” (The New York Times) Also included are a list of mail-order and online sources for buying and renting DVDs and videos, official motion picture code ratings from G to NC-17, and Leonard's list of recommended films.

Going beyond the box-office hits of Disney and Dreamworks, this guide to every animated movie ever released in the United States covers more than 300 films over the course of nearly 80 years of film history. Well-known films such as Finding Nemo and Shrek are profiled and hundreds of other films, many of them rarely discussed, are analyzed, compared, and catalogued. The origin of the genre and what it takes to make a great animated feature are discussed, and the influence of Japanese animation, computer graphics, and stop-motion puppet techniques are brought into perspective. Every film analysis includes reviews, four-star ratings, background information, plot synopses, accurate running times, consumer tips, and MPAA ratings. Brief guides to made-for-TV movies, direct-to-video releases, foreign films that were never theatrically released in the U.S., and live-action films with significant animation round out the volume.

Finding, funding, and using the right films and video equipment can be challenging for history teachers. Did you know that… The movie Prince of Egypt was banned in Egypt? In the movie Troy, ancient Trojans are shown using llamas that could only be found in the New World at that time? Oliver Stone’s movie JFK was so controversial that he wrote a whole book defending it? The movie 300 is based on a comic book and not meant to show historical reality at all? No one in the West has ever made a major motion picture featuring the life of Vladimir Lenin? Showing movies in the dark can damage your eyesight? Showing the wrong movie could get you fired or slapped with a heavy fine? There are ways to obtain free educational films? There are some great books and websites that allow you to learn about the objectionable content and historical accuracy of a film before you show it to your students? This book helps you get good films that are free from bias, anachronisms, or objectionable content. There are many great tips on how to use films more effectively in your classroom and interesting assignments to go with them. Chapter One: The Do’s and Don’ts of Using Films in Your Classroom 4 Chapter Two: Should I Use a Drama or a Documentary? 9 Chapter Three: Finding the Right Films 11 Chapter Four: Funding Your Film Library 18 Chapter Five: Copyright Issues 25 Chapter Six: Choosing the Right Format of Films & Equipment 28 Chapter Seven: Anachronisms in Film 35 Chapter Eight: Bias in Film 38 Chapter Nine: Films with Violence and Bad Language 42 Chapter Ten: Film-related Assignments 44 Chapter Eleven: The Best and Worst Dramatic Films for History Classes 67 Chapter Twelve: Recent Reviews 73 Chapter Thirteen: Films That I Think Should be Made 78 Chapter Fourteen: Recommended Reading 82 Chapter Fifteen: Dramatic Films Listed by Historical Era 85

Videoland offers a comprehensive view of the "tangible phase" of consumer video, when Americans largely accessed movies as material commodities at video rental stores. Video stores served as a vital locus of movie culture from the early 1980s until the early 2000s, changing the way Americans socialized around movies and collectively made movies meaningful. When films became tangible as magnetic tapes and plastic discs, movie culture flowed out from the theater and the living room, entered the public retail space, and became conflated with shopping and salesmanship. In this process, video stores served as a crucial embodiment of movie culture’s historical move toward increased flexibility, adaptability, and customization. In addition to charting the historical rise and fall of the rental industry, Herbert explores the architectural design of video stores, the social dynamics of retail encounters, the video distribution industry, the proliferation of video recommendation guides, and the often surprising persistence of the video store as an adaptable social space of consumer culture. Drawing on ethnographic fieldwork, cultural geography, and archival research, Videoland provides a wide-ranging exploration of the pivotal role video stores played in the history of motion pictures, and is a must-read for students and scholars of media history.

What does it take to make a great motion picture? What do we even mean by cinematic greatness? What is more important: movie awards, critical acclaim, or box office success? Who has the biggest impact: the writer, the director, or the actors? Scientific research has provided some provocative answers. This review of cinematic creativity and aesthetics is confined to scientific studies carried out by a multidisciplinary group of researchers. Do great films receive both shiny trophies and five stars? Chapter 2 concentrates on movie awards, including the Oscars and Golden Globes, and how those awards relate to critical acclaim. How do the dramatic awards compare with the visual, technical, and music awards? Chapter 3 studies more closely how these awards cluster together and which of these clusters best predict cinematic success. How does box office compare with critical evaluations and movie awards? Chapter 4 adds a new consideration, namely the film's financial performance. The following four chapters focus on specific contributions to a film's impact: Chapter 5 covers the script (including writers), Chapter 6 the director (or "auteur"), Chapter 7 the actors (especially gender differences), and Chapter 8 the music (both scores and songs). Chapter 9 addresses the question of whether the same cinematic factors that make some films great also make other films bad: Are bombs the exact opposite of masterpieces? The book closes with an epilogue on future directions in scientific studies of cinematic creativity and aesthetics. What do researchers need to do if we want a complete understanding of what it takes to create a powerful cinematic experience? This volume will be invaluable to anyone interested in film, including any aficionado who is open to a scientific approach, and researchers in the areas of creativity, aesthetics, and cultural economics. The reported research comes from many disciplines, including psychology, sociology, economics, management, marketing, communications, journalism, broadcasting, history, musicology, and statistics.

Carol Alabaster focuses on developing a collection with high-quality materials while saving time and money.

This book explores how class-based resources and interests embedded in large organizations are linked to powerful structures and processes which in turn are rapidly polarizing the U.S. into a highly unequal, 'double diamond' class structure. The authors show how and why American class membership in the 21st century is based on an organizationally-based distribution of critical resources including income, investment capital, credentialed skills verified by elite schools, and social connections to organizational leaders.

Think you know everything there is to know about Hammer Films, the fabled "Studio that Dripped Blood?" The lowdown on all the imperishable classics of horror, like The Curse of Frankenstein, Horror of Dracula and The Devil Rides Out? What about the company's less blood-curdling back catalog? What about the musicals, comedies and travelogues, the fantasies and historical epics--not to mention the pirate adventures? This lavishly illustrated encyclopedia covers every Hammer film and television production in thorough detail, including budgets, shooting schedules, publicity and more, along with all the actors, supporting players, writers, directors, producers, composers and technicians. Packed with quotes, behind-the-scenes anecdotes, credit lists and production specifics, this all-inclusive reference work is the last word on this cherished cinematic institution.