London is in turmoil following riots and the Trafalgar Square Massacre. A doctor in a big East End hospital, already hard hit by government cutbacks and increasing social unrest, starts to get reports of something having happened at All Hallows church . . . Then, the first of the injured, including policemen and soldiers, start to be brought in, but the nurses and doctors on the day shift still can't make sense of what the victims are talking about. Soon their resources begin to be overwhelmed. Some of the injured begin to 'change' and soon the hospital, like so many other buildings throughout the city, is on lockdown. But as things grow increasingly chaotic outside, for those trapped within the old hospital building, both staff and patients, things quickly become infinitely worse as the dead return to life and stalk the corridors in search of flesh.

From its new headquarters, the Human Protection League (colloquially known as “The Lovecraft Squad”) must regroup against the rising tide of supernatural threats from such clandestine cults as The Olde Fellowes and The Esoteric Order of Dagon, who worship a group of ancient deities known as the Great Old Ones. As their unholy acolytes prepare to resurrect these multi-dimensional gods from their imprisonment beneath the earth and beyond the stars, the universe hovers on the brink of an Eldritch War such as it has never known before. The only thing that may stand between victory or the enslavement and eventual destruction of the human race itself is a man out of his own time—a writer, a visionary, a dreamer on the night-side . . .

Kate Nolan is a successful magazine editor with a loving husband, James, and a five-year-old son, Max. Her life couldn’t be more perfect—but one day she receives a phone call from James, which changes everything. Clearly distressed, James tells Kate to meet him at midnight outside the beach café once owned by her long-dead grandmother in the seaside town of Seahaven, where they both grew up. A strange request, made even more sinister by the fact that in recent weeks Seahaven has become prey to a serial killer who is targeting the local children. Kate keeps the midnight appointment, but instead of finding her husband and son, she finds herself drawn into an ever-tightening web of past misdeeds and long-buried secrets. As hopes for her missing family fade, Kate becomes involved in a desperate race against time. Where are her husband and son? Have they become the latest victims of the serial killer, who calls himself Dominic and seems to know her intimately? And what has all this to do with Kate’s childhood terror of the impenetrable darkness known as “the black”?

“The uglimen are coming. Watch your back. They killed your dad. They’ll kill you too if they can.” Rob Loomis has everything he could wish for: a beautiful girlfriend, a job he loves, a nice flat in London. Life is sweet—until the day that his mother rings him at work to tell him that his quiet, thoughtful and apparently contented father has hung himself from the banister of their family home. Before long, Rob finds that it is not only his own and his mother's grief that he has to cope with. A mysterious, hissing voice on the phone informs him that his father was murdered, and that his murderers—the uglimen—are targeting Rob as their next victim. But if Rob’s father really is dead, why does Rob glimpse him, standing between distant trees, watching his own funeral? Is his father a phantom? A figment of Rob's imagination? Or has he somehow faked his own death in order to avoid some terrible retribution? To discover the truth, Rob must confront and accept shocking revelations about his father, must delve deep into his father’s past, and in particular into certain events that occurred in California in 1969, during the fabled summer of love. For it was here where his father made the biggest mistake of his life, where his reckless actions were to have such devastating consequences that they would destroy not only his life, but the lives of all those around him.

Featuring chronological reviews of more than 300 zombie films-from 1932's White Zombie to George A. Romero's 2008 release Diary of the Dead-this thorough, uproarious guide traces the evolution of one of horror cinema's most popular and terrifying creations. Fans will learn exactly what makes a zombie a zombie, go behind the scenes with a chilling production diary from Land of the Dead, peruse a bizarre list of the oddest things ever seen in undead cinema, and immerse themselves in a detailed rundown of the 25 greatest zombie films ever made. Containing an illustrated zombie rating system, ranging from "Highly Recommended" to "Avoid at All Costs" and "So Bad It's Good," the book also features lengthy interviews with numerous talents from in front of and behind the camera.

Given the current moment—polarized populations, increasing climate fears, and decline of supranational institutions in favor of a rising tide of nationalisms—it is easy to understand the proliferation of apocalyptic and dystopian elements in popular culture. Infected Empires examines one of the most popular figures in contemporary apocalyptic film: the zombie. This harbinger of apocalypse reveals bloody truths about the human condition, the wounds of history, and methods of contending with them. Infected Empires considers parallels in the zombie genre to historical and current events on different political, theological and philosophical levels, and proposes that the zombie can be read as a figure of decolonization and an allegory of resistance to oppressive structures that racialize, marginalize, disable, and dispose of bodies. Studying films from around the world, including Latin America, Asia, Africa, the US, and Europe, Infected Empires presents a vision of a global zombie that points toward a posthuman and feminist future.

"One of cinema's most enduring monsters, the zombie has been terrifying audiences around the world for decades. Book of the Dead charts the ghoulish history of zombie cinema, from the creature's origins in Haitian voodoo and its cinematic debut in 1932's White Zombie, right up to recent blockbuster hits like 28 Days Later, Shaun of the Dead and Land of the Dead." "Covering hundreds of movies from America, Europe and Asia, this exhaustive history chronicles the zombie's on-screen evolution from Caribbean bogeyman to flesh-eating corpse. Along the way, Book of the Dead takes in Bela Lugosi B-movies, Italian gore films, blind monk zombies, shot-on-video backyard epics, all-time classics such as I Walked with a Zombie, Night of the Living Dead and Dawn of the Dead, and the videogame phenomenon of Resident Evil." "Complete with hundreds of stills and artwork including 64 pages of colour illustrations, and an exhaustive filmography, Book of the Dead explains why we continue to be so fascinated by these fugitives from the undertaker."--BOOK JACKET.

The new edition of The British Cinema Book has been thoroughly revised and updated to provide a comprehensive introduction to the major periods, genres, studios, film-makers and debates in British cinema from the 1890s to the present. The book has five sections, addressing debates and controversies; industry, genre and representation; British cinema 1895-1939; British cinema from World War II to the 1970s, and contemporary British cinema. Within these sections, leading scholars and critics address a wide range of issues and topics, including British cinema as a 'national' cinema; its complex relationship with Hollywood; film censorship; key British genres such as horror, comedy and costume film; the work of directors including Alfred Hitchcock, Anthony Asquith, Alexander Mackendrick, Michael Powell, Lindsay Anderson, Ken Russell and Mike Leigh; studios such as Gainsborough, Ealing, Rank and Gaumont, and recent signs of hope for the British film industry, such as the rebirth of the low-budget British horror picture, and the emergence of a British Asian cinema. Discussions are illustrated with case studies of key films, many of which are new to this edition, including Piccadilly (1929) It Always Rains on Sunday (1947), The Ladykillers (1955), This Sporting Life (1963), The Devils (1971), Withnail and I (1986), Bend it Like Beckham (2002) and Control (2007), and with over 100 images from the BFI's collection. The Editor: Robert Murphy is Professor in Film Studies at De Montfort University and has written and edited a number of books on British cinema, including British Cinema and the Second World War (2000) and Directors in British and Irish Cinema (2006). The contributors: Ian Aitken, Charles Barr, Geoff Brown, William Brown, Stella Bruzzi, Jon Burrows, James Chapman, Steve Chibnall, Pamela Church Gibson, Ian Conrich, Richard Dacre, Raymond Durgnat, Allen Eyles, Christine Geraghty, Christine Gledhill, Kevin Gough-Yates, Sheldon Hall, Benjamin Halligan, Sue Harper, Erik Hedling, Andrew Hill, John Hill, Peter Hutchings, Nick James, Marcia Landy, Barbara Korte, Alan Lovell, Brian McFarlane, Martin McLoone, Andrew Moor, Robert Murphy, Lawrence Napper, Michael O'Pray, Jim Pines, Vincent Porter, Tim Pulleine, Jeffrey Richards, James C. Robertson, Tom Ryall, Justin Smith, Andrew Spicer, Claudia Sternberg, Sarah Street, Melanie Williams and Linda Wood.

The people have spoken--and it's thumbs-up for Video Hound! With 21,000 videos reviewed and rated, this is "the best darn video-movie guide there is". (The Niagara Gizette). Used as the database of choice for Blockbuster Video's new "Movie Guide".