Movies Books

I thought this book was wonderful. Not only would Disney himslef be pleased but the original author of the Peter Pan books would also be pleased.

It is also classic Brooks. Filled with his enriched details and his way of writing that draws the reader into the book.

I have read almost all of the books that Brooks has written, including all of the Shannara books and the Landover series.

He is a wonderful writer and is able in his own way to make the reading of a book not only enjoyable but also very stimulating.

His way of bringing the reader into the novel is so wonderful that you can not put the novel down.

Brooks stayed true to the Peter Pan story and offered us a look at what Peter Pan might have been like had he actually grown up.

For a "What If" book, I give this book, not a 5 star rating but a 10 star rating.

I just read "Sometimes the magic works," a memior from Terry Brooks. He said writing this book was the worst experience of his life. The movie workers helped him in no way, so I was shocked when that person (someone who reviewed the book on amazon) said that the credit for this book goes to them.

And yes, it was good. No, don't buy it though. Borrow it from a friend, that way, Amazon doesn't make any more money.

Let's see how long this review stays posted, if at all.

Poor Peter Banning is living his life in the fast lane, making deals, making deadlines, attending meetings, and getting ahead. But, if there's someone he's not getting ahead with, it his children. But, when his children are kidnapped, Peter suddenly finds himself thrust into a world beyond his imagination. It seems that his children were kidnapped by Captain Hook...that's right, the villain of J. M. Barrie's story. It seems that Hook has this far out idea that Peter Banning is really Peter Pan. To rescue his kids, Peter is going to have to reach deep inside himself, and find something that he lost. But, will he do it in time?

In 1991, director Steven Spielberg produced yet another great movie - Hook. I absolutely love that movie. (I think it is directed more towards fathers than kids!) So, when I saw the book, I jumped at it. In this book, veteran fantasy author takes the story of Hook, and presents it in story form.

Now, it must be admitted that this book does not go beyond the movie, being a faithful novelization of the movie, and nothing more. But, that said, this is a very good book, one that brings back the magic of the movie to you when you are sitting trapped in an airplane, or God knows where. Overall, I really enjoyed this book, and highly recommend it.

Granted, this book is a novelization of a movie, and a very faithful one at that, so much of the credit goes to the makers of the movie rather than to Brooks, but he does succeed in taking a marvelous story and telling it wonderfully, fully capturing the spirit of the story with his tone, as well as the events in it.

And a wonderful story it is, too. A superb sequel to the original Peter Pan story, answering the question "What would Peter be like if he ever DID grow up?" in a very plausible, indisputable way. Further, it is a perfect primer on how NOT to be a father, and what effects it can have on the children of someone who's falling down on the job, as well as showing a good example of how to do it right for comparison. Additionally, it is, like the original Peter Pan, an excellent story of the magic of childhood, but this one discusses how an adult can (and indeed MUST, if they want to avoid becoming unbearable) hold on to some of that magic, even while growing up and becoming responsible. And that sometimes, even people who HAVE lost that magic still don't learn how to be particularly responsible.

I cannot recommend this book highly enough. It is truly wonderful; do yourself a favor, and track down a copy. It will be worth the effort. Then settle in for a good evening's read. You won't regret it.

I won't live without this cookbook! I bought this (my second copy) for the cottage. I must have one at home and one at the cottage. I have yet to make a recipe that people don't rave about.

Ted Reader brings grilling to new levels. The recipes are simple to follow and understand, and the ingredients are easy to find. There is a wide range of recipes for everyone's taste. Ted makes grilling fun, adventurous, and most of all delicious. Using this cookbook you will be a master griller. Have fun.

I've been grilling since I was a kid and have more than a few grilling books. I completely agree with other reviewer's in that both of Ted's books in this series raise the bar for bbq'ing to an entirely new level. The reciepes taste amazing and are also fun to make. Some of the receipes take a little more time to put together...but they are worth every second of preperation!

I have become addicted to Ted Reader's cookbooks. His latest, On Fire in the Kitchen is as adventurous and enjoyable as his others.

He makes the amateur chef want to get back into the kitchen. One word of warning however: you won't want to go out to dinner again....between having fun cooking his recipes, and eating the results, dining out will become boring.

Put your favorite music on, put something special in your best crystal goblet, get out that funky apron....

And start cooking.

A devoted follower of the 'King of Q'.

Kawin is by far one of the brightest minds in film literature and theory today. His text brings the background of film to light and stresses the importance of all aspects of the cinema. This text is an excellent resource for any student of the cinema.

The title says it all: not only does this book tell you what a movie technically is made of (differences between film stocks, sound recording techniques, etc), it also tells you how the movie is shot (lighting, lenses, special effects, etc) but finally it also tells the deeper meaning of certain shots or sequences. Especially that last part is very interesting: with examples from Citizen Kane, Close Encounters Of The Third Kind and many others, the author explains how the composition of the picture, movements and sound can communicate concepts like mood, emotion and relationships.

How Movies Work is an excellent introduction to the process and techniques of filmmaking. For any aspiring filmmaker or movie buff, it will introduce all of the intricacies from pre-production to post-production. Usually, the author's style is clear and comprehensible for the layman; however, there are moments when the text is burdened by the minutiae of the trade: trying to comprehend the definitions of film developing and editing practices is nearly impossible. Nevertheless, these moments are few and far between, and any dutiful reader will leave the book with a valuable wealth of knowledge regarding filmmaking.

What is disappointing, however, is that the book deliberately sidelines even a cursory overview of what the author terms "film theory." Admittedly, Kawin does not disguise the fact that he presents a bare-bones overview of the specific, concrete details regarding filmmaking, but a few pages on the psychological and abstract components of film theory would surely have supplemented the book nicely. Kawin argues that the most in depth analysis of film construction cannot be accomplished without a thorough knowledge of the production process, which is certainly true. While his book elaborately details the production process, it may not satisfy those who are interested in the theoretical constructs that deconstruct cinema.

As a final note, the illustrations are almost always beneficial. The text is, however, considerably dated. Films before 1986 are not included. The text discusses nothing about digital photography and very little about computer-generated imagery. Personally, however, in the age of DVD extra features, there is already a superfluity of this information easily located in the world of cinema, and the text does not suffer considerably from its absence.

You must buy this book if you want to find out how movies work, i.e., how they enrich our cultural experience and how they are made. Kawin's textbook is pleasantly readable by anyone interested in the cinema. It contains a wealth of information from film appreciation to film production (including explanations of various special effects!) to film studies. Every aspect of the cinema is clearly explained and illustrated with examples, and the book contains many still photographs, 96 of which are in color.

I think this is exactly how a "how-to" book should be written. I only wish it had been updated to reflect advances in the 1990s -- this book was first published in 1987 and reprinted in 1992.

... at a great price. My boys love the books and I love that they love them.

These are a great set of books. Each item the specific animal wants always leads to another item, sounds a lot like a child doesn't it? I love how the author has recreated the mind of a child acting out the story in the form of a moose, pig, or mouse. Any of the titles would be an exception gift.

If You Take A ... books are some of the best children's stories written. The whole series is great and this set is a great value! I highly recommend it for children age 3-6.

I bought this series for my nephew, who is 18 mos. old. He loves to be read to. There is enough detail in the pictures that there is plenty to point out. I can ask him "Where's the mouse" and he can look for it in the picture and point it out. And the artwork is cute. The stories are also cute and the sentences are simple enough that once my nephew does begin to read he'll be able to read these easily enough. A bit of subtle humor though, on one page the mouse writes words on the chalk board and one of them is versimilitude...just wait until my nephew want's to know what that word means!

Toward the end of his 1971 conversation with Richard Meryman, easily the best interview in this collection, Bergman says that "to make a film is to try to open up the roof--so we can breathe" (p. 112). This is as good a one-line characterization of Bergman's project as I know. Bergman's films defy easy analysis, sometimes because they're poorly conceived, as Bergman himself admits (he thinks, for example, that "Through a Glass Darkly" is a prime example), sometimes because even Bergman in retrospect isn't quite sure what he was trying to do, but sometimes because there's simply a great deal of depth to them. How, for example, to collapse the message of loneliness, despair, human nature, and hope conveyed in "The Silence" into a couple of sentences? But what Bergman at his best does succeed in doing is expanding us, opening up the roofs of our worldviews, inviting us--sometimes forcing us--to breathe in an atmosphere that's crisp and thin and heady.

Readers who pick up Raphael Shargel's collection of Bergman interviews in the hope that the master will explain what his films are about will be disappointed. Bergman tells us that he wants to elicit emotional experiences first and cerebral ones second in his films; that dreams have influenced his scripts and his director's eye; that he works best when his days are rigorously scheduled; that he thinks a film is "selected reality" (p. 106), which reminds me of Tarkovksy's beautiful characterization of film-making as "sculpting time"; that he thinks a certain "childishness"--a naivete, an openness to experience--is essential for good art. But what Bergman doesn't do, appropriately enough, is tell us how to interpret his films. So in many ways, his intervews are as mysterious as his artworks.

The interviews collected by Shargel vary in quality. As I've mentioned, Richard Meryman's is the best of the lot, closely followed by A. Alvarez's. The "Playboy" interview conducted by Cynthia Grenier is worse than worthless, and seems intent on focusing on little else than sex in "The Silence" (the interview was conducted shortly after the film's American debut). There are numerous typos in the text. "Feeling" is consistently spelled "felling," for example, and at one point Bergman is referred to as the "15 year old creator of 'The Silence'"! The only other book I've read by the University of Mississippi Press was also poorly proofed. Strange that an academic press is so careless in its copyediting.

Shargel's collection is a decent starting point for readers new to Bergman, but better ones include Bergman's memoirs, The Magic Lantern (2007) and Images (1995). Jesse Kalin's The Films of Ingmar Bergman (2003) is highly recommended for serious students.

This collection of interviews with Ingmar Bergman gives the reader almost a definitive view of not only the great director's vision, but of his constantly evolving artistry. As a teacher, I found the discussions of individual films invaluable.

No film critic could have approached Bergman with such passionate understanding and insight as Raphael Shargel. Following his film reviews in The New Leader for years, I am not surprised by his far reaching ability to grasp a life's work as he does his movies, always interested in their impact on society and us as individuals as well as the history that produced them in our time. When you get to it, your understanding of Bergman and appreciation for the value of interviews across a lifetime will be as rich as this book's index.

I'm a big fan of Bergman, and I was thrilled to see these interviews come back into print. They tell you so much about Bergman's life, films, and his personal opinions. Organized chronologically, this book reveals a development of Bergman both as an artist and as a person. I highly recommend this book to anyone who is interested in learning about Bergman's genius or film in general. The introduction offers terrific insight into the mind of an artist.

This book is awesome! John Little's interview with Jackie Chan is worth the price alone. The photographs are the best, particularly the one of Jackie climbing a flag pole that looks like it has to be 50 feet off the ground! I learned so much about Jackie Chan, his martial arts training, his fitness methods and his personal philosophy. Having read all the other books on Jackie, I can easily say that this is - by far - the best! A must for everyone who loves his stunts or have been awed by his physical talent in martial art.

This volume of articles and tidbits about the great Jackie Chan is definitely worth a read if not great. There are many fine insights into the man and the legend Jackie Chan, and indeed a lot of interesting photographs, which makes it so much the more enjoyable.

The format of the book, however, does not really agree with me. I don't like the article form, it seems cheap and mean. In my opinion it would have been better to write a uniform, coherent text based on the interviews and articles instead. The information is still there, it just seems a bit disorganized (which it really is not, it just seems that way).

It is still highly recommendable for all the information in there. Sure to please any fan.

I loved this book. Anyone into the arts will love this book to. Its great and i personally like Jackie Chan.

This book is a fabulous read. I couldn't put it down until I finished it. It is not a narrative, but rather a compiled series of interviews between the author(s) and Jackie Chan that have taken place over the past ten years or so. The chapters are split up into sections on his childhood, martial arts training, philosophy, health and fitness, career and film making, stunt coordinating etc. Each chapter has an introduction and then goes straight into an indepth interview with Jackie Chan himself! There is a small overview at the beginning of the book on his life (a mini "My Life in Action"!) and at the end a filmography and a chapter containing what the author considers are Jackie's ten best stunts in a short paragraph format. There is a treasure trove of pictures from Jackie's films (all black and white unfortunately), many not before seen. I consider this book belongs on the shelf with Jackie's autobiography as it is contains personal insights and comments from "The Man" himself. My respect for Jackie Chan, already high after reading "My Life in Action", has risen even higher. The man is phenomenal and makes the so-called "Hollywood Stars" shine rather pale in comparison. If the many who dismiss Jackie as "just an action actor" could only read this book, how their eyes would be opened! Highly recommended - a must read!

Or maybe a Sharon Stone (she is not spared in these pages). Quite simply, this book is impossible to put down. James Ulmer's clever rating system is interesting enough in itself -- but the best part of the book is his personal stamp. He makes no bones about being star-struck, yet his mission is the demystification of the gods, and he does it with gimlet-eyed clarity and intelligence. A dirt-filled riff will turn on a phrase into a sharp insight into the celebrity cult and our fascination with it. Some of his observations of actors are priceless. My image of Marlon Brando struggling up the Brooklyn waterfront ramp will now forever be juxtaposed with him struggling up the aisle of an L.A. supermarket, dressed in a muumuu and eating from an as-yet-unbought gallon of Breyers ice cream. This is a great summer (or winter) read, but don't take it to anyplace where you're self-conscious about laughing out loud. Because you will.

For anyone who enjoys following the cult of celebrity -- go backstage with James Ulmer and find all of the behind-the-scenes gossip (ok really thruths) about today's biggest stars. Ulmer has been compiling this list for industry insiders for years and this is the first time he's published his info for the general public -- can't wait for the next installment!

It's fun and funny to see how the industry perceives itself, this book is a hoot. The information they based the ratings on is already outdated, (Russell Crowe's career trajectory arrow is going sideways? Hello?) but it's still worth the $$ for the essays, especially the one on star perks, (you will not believe the story about a certain actress and a baby opposum) and the "inside dirt" remarks.

The title only tells half the story. The lists are fun to browse (the 200 top stars), especially the inside dirt on each star. But the essays are really hilarious: weird twisted perks, gossip and insecurity, naughty inside references - a pretty amazing picture of business and culture in Hollywood, where Ulmer says nothing binds people together like money, tribal membership "and the desire to see your best friend fail." Yikes. This book definitely goes on my holiday gift list.

I happen to collect various art and photographs of entertainment from the early 1900's to modern times and I've always been interested in others collections of art or photography.

"Japanese Movie Posters" is a book that features posters from various genres such as yakuza, sci-fi and monster, samurai, pink, horror, animation and new cinema and goes further by allowing the reader to have a chance to purchase the book.

Similar to other Cocoro Books (DHP Publishing) releases, this book can be seen as a photobook but you do get commentary for each poster and its respective genre. Also, unlike other recent releases from Cocoro Books, this book is about 8×12 and quite large, featuring large full color photos and more.

The book was written by Chuck Stephens, a contributing editor from "Film Comment" and Jinema Junpo", Masuda Tetsuya, a prdocuer and runs the cinema section at the bookstore @wonder and the final person featured is Kairakutei Black, known as a walking encyclopedia on Japanese films of all genres.

The pages feature a large image of the poster and below the image is the title of the film (in English and Japanese), the film studio and year it was made, the director and how much the poster costs. Then a brief information on the film.

So, an example would bey "Return of the Tokyo Drifter" (Zoku: Tokyo Nagaremono" which was releasd in 1966. It was great to see classic posters like this, that go back in the 60's and the same can be said for other genres featured. Especially for the Sci-Fi films such as Godzilla, Mothra, Gamera and Ultra Man films. Great to see those posters.

As much as the book features straight up movie posters, this book is not for the young as it does contain nudity.

Once you get to the chapter of "Pink" (adult films produced by indie productions), then you do get to see quite a bit of the nudity featured on the posters and it's not full frontal nudity but a lot of the movie posters featured a lot of women nude from the the torso up.

I'm sure one of the biggest attractions of this book will be those who are enamored by anime films. Posters from the 1978 "Farewell Space Battleship Yamamoto", 1979's "The Castle of Cagliostro", 1984 "Urusei Yatsura 2: Beautiful Dreamer" and many Miyazaki film posters are featured. But unfortunately, anime posters are limited to only nine pages and I admit that I was hoping to see posters from the late 70's "Gundam" films, the 1982 "Cobra" film, a few other Miyazaki films and more.

Also, another attraction is the "samurai" posters which seem to be the most expensive in terms of collectability. But if there was one thing I was hoping was that there would be Kurosawa Akira posters featured. I know that the book features films from 1960's and up but I would have loved to see the posters for "Yojimbo" or even "Ran".

As for the category "New Cinema", you get newer films such as Kitano Takeshi films and films that I watched in Japan such as "Odoru Daisousassen" have their posters featured.

And featured at the end of the book is an index in both English and Japanese for those looking for a film poster in this book which was cool to see both featured. And as mentioned, a way for fans to purchase the posters online.

"Japanese Movie Posters" is definitely another welcomed niche book from Cocoro Books. The fact that this company continues to bring niche books that appeal to fans worldwide is great and as much as one can see many film or TV drama posters on the train stations or high above buildings, and many around the Odaiba Fuji TV area, for me, it's always cool to see artwork, photography or posters from a film, especially if it was created before I was born.

I did feel that I wish there were as equal amount of coverage for other genres, especially for the coverage of anime films and wished there were posters for Kurosawa-related films. That would have been awesome to see.

But all in all, the guys did a great job featuring the posters and giving information on the films. And as much as it serves as a visual reference for fans interested in purchasing the posters, it also works as a great entertainment book covering Japanese entertainment within the last 40 years.

Japanese Movie Posters: Yakuza, Monster, Pink And Horror is an eye-opening, full-color presentation of movie posters representational of the best and the worst of Japan's cinema. From lurid and graphic horror to yakuza movies to posters of Hayao Miyazaki's wondrous words of animation, Japanese Movie Posters offers an unforgettable slice of Japanese popular culture in the twentieth century. Brief yet erudite and scholarly commentaries by Chuck Stephens (contributing editor to "Film Comment", a columnist for "Kinema Junpo, and a freelance specialist in Asian cinema for publications worldwide), Tetsuya Masuda (vintage poster expert and head of the cinema section of wonder antiquarian books), and Kairakutei Black (a Japanese film critic and traditional "rakugo" comic storyteller) offer informed and informative insights into the psychology and media background of the individual posters round out this impressive collection. A unique compendium of cinematic poster art, Japanese Movie Posters is a welcome and highly recommended addition to any personal or academic Cinematic Studies reference collection.

I discovered this new book put out by Tokyo-based DH Publishing by accident. And am glad I did. Chock full of full-page full-color posters of the most wonderfully wackiest of Japan's classic movie posters. There's everything from Horror and Monster to Samurai and Ninja, Pink (what they call soft porn) to Anime, and even some new posters thrown in. My best is easily the Sci-Fi genre, which includes the ultimate Ultraman. Also, you gotta check out some of the Monster posters, like Godzilla and some huge Ice Man creature. I bought two of these, as I knew it would make that perfect present when you've run out of ideas what to buy someone. DH Publishing arigato! I'm going to check out their other books. I hope they're as good!

If you buy one book on Japanese cinema this year, this is it. They have done a terrific job of laying out the history of Japanese film in poster format, in correct color no less, with
a lot of useful information for the Japanese film buff, and collector since many of the posters are available to order right from this publication. My only comment is when will their next
book be issued? Enjoy!

If Ernest Hemingway had made movies, they would have looked something like John Huston's. The passion, intelligence, and joie de vivre of Huston's films are reflected in this set of articulate interviews. Pour yourself a good drink, and listen as one of Hollywood's best raconteurs spins yarn after yarn in this splendid volume of a valuable series.

Ably edited by independent scholar and freelance writer Robert Long, John Huston: Interviews is an informative and insightful compilation of interviews with the late John Huston (which took place from 1952 to 1985) in which he personally comments on his life and projects as an acclaimed filmmaker. Among the movies that are surveyed within this context are The Maltese Falcon, Key Largo, The Treasure of the Sierra Madre, The African Queen, The Night of the Iguana, Prizzi's Honor, and The Dead. The observations range from his approach to directing; the influence of painting upon his camera work, and his association with stellar actors, to his beginnings in Hollywood as a screenwriter, and the influences of James Joyce and Ernest Hemingway upon his movies. Replete with numerous anecdotes about writers, directors, and actors with whom he collaborated, we are presented with a body of work and a filmmaker's life that will be immensely appreciated by students of his work and a man whose personal life was as prodigious as his professional career.

This is a terrific book. It consists of interviews with John Huston from 1952-85. Not only does the reader find out about Huston's ideas on filmmaking and get some inside info on the making of classic films, but he will find out about the breadth of Huston's interests, which extended beyond filmmaking to art and philosophy. Here, truly, was an intelligent man.

The most interesting thing to me about Huston was that he started in the classic studio age and survived its downfall to make films that were fresh, interesting and important even in the Eighties. These interviews show Huston's mental flexibility. He admires "McCabe and Mrs. Miller," "Rocky," and "Taxi Driver." Huston is also quite frank about his own films. I will never be tempted to see "Roots of Heaven" or "Barbarian and the Geisha." I have to see "Moby Dick," which he considered one of his films that never got its due.

I was sorry when this book ended.

Ably edited by independent scholar and freelance writer Robert Long, John Huston: Interviews is an informative and insightful compilation of interviews with the late John Huston (which took place from 1952 to 1985) in which he personally comments on his life and projects as an acclaimed filmmaker. Among the movies that are surveyed within this context are The Maltese Falcon, Key Largo, The Treasure of the Sierra Madre, The African Queen, The Night of the Iguana, Prizzi's Honor, and The Dead. The observations range from his approach to directing; the influence of painting upon his camera work, and his association with stellar actors, to his beginnings in Hollywood as a screenwriter, and the influences of James Joyce and Ernest Hemingway upon his movies. Replete with numerous anecdotes about writers, directors, and actors with whom he collaborated, we are presented with a body of work and a filmmaker's life that will be immensely appreciated by students of his work and a man whose personal life was as prodigious as his professional career. John Huston: Interviews is also available in paperback ..., [price]

The Journey of August King is a novel rich in description of the Appalachian Mountains of North Carolina. This book very well illustrates slavery and how it was dealt with as well as the kindness of the mountain people of that time.

Being from North Carolina myself, I am fully aware of how accurate the description is. The scenery makes you feel as if you are actually there with August King.

Also, I particularly enjoyed the portrayl of August King. He is showed as a very kind man, not unlike his neighbors, just having a bit more sympathy. He is not unhuman, either. He is portrayed as a man who has known hurt, loss, and love, though he does not recognize it.

As noted, his journey is a spiritual one to finally come to terms with the death of his wife. I like the way this is done, using tears even, to help us understand how he is accomplishing this.

Ehle's descriptions are both surreal and earthy. The characters are complex entities, they are not perfect. August is a hero almost by accident, and an ambigious one at that. The struggles August experiences with his attitudes vis-a-vis race forms a major catalyst in the story.

For individuals interested in historical fiction about Appalachia this is a must read.

On a historical sidenote, I've always liked Ehle's inclusion of Germans in his stories. It is a refreshing multiethnic approach from the general Scotch-Irish dominated stereotype of Appalachia history.

John Ehle makes you remember the NC mountains like no one else can. The roads and trails seem familiar because some of them still exist and perhaps you have been there. The people haven't changed all that much even though Ehle covers the time near the civil war. Yes, the story is good and keeps you interested. Yes, his writing flows well. But Ehle has always been somewhat of a regional writer because he understands the locals. I would love to go back to the black mountains, walk the trails and talk to the people there. Reading John Ehle is a close second.

I loved this book. I've read it many times. Each time I appreciate the beauty of the prose, the skillful character development, and the suspense of the plot. I like the contrast between the main characters' thought patterns and conversation: August's thoughts and words free-flow; Annalees' are more grounded and practical. I like the subtle differences in their speech patterns: it's like listening to a conversation. I also like the way Mr. Ehle has peppered his character's words with idioms and phrases from the time in which the book takes place. The scenes unfold with drama and picture-perfect description