Arts and Culture Books

Jill Abrams' raucous ride through life, work and love in showbiz is a delight. I had so much fun reading this book. It's filled with juicy first hand tidbits about famous people from an insider's perspective but it also chronicles the journey of a woman looking for herself, for her purpose and for real love. I devoured this book in one sitting, anxiously flipping from chapter to chapter waiting to see what would happen next. There are some very hilarious and sexy bits that I don't want to divulge. It also gives us regular folks a glimpse of stardom...and how it obviously doesn't glitter. Jill Abrams has written a fine, funny, honest and terrific book. I know this is one I will read again.

The stories in this book had me laughing out loud. Jill Abrams is more than funny, she is hysterical. I loved her take on life as told through a series of real life vignettes. She is quite unique and charming and had me nodding in agreement with her ribald perspective on life. She's like a mix between Sarah Silverman and a really sexy lesbian.

The author, Jill Abrams, is absolutely exquisite at expressing the struggles in Hollywood that she experiences from a minority standpoint as a Jewish lesbian. Her accentuated use of metaphors and similes throughout this book takes you down deep into her thought processes in every episodic chapter of her life. My favorite chapter was about her experience with an "infamous" tennis player, who remains a mystery to us members of the audience. In each page, the author expresses what we all are thinking but never had the guts to say about working in Hollywood. Her authentic raw nature illustrates the "reel deal" of working in the entertainment world and paints a picturesque idea of the glamor when you are at the top, and the day-to-day "grind" when you are at the bottom. For anyone who is looking for true amusement and entertainment about what starting out in Hollywood is REALLY like, I would highly recommend this book.

What, exactly, is this book? Part confessional, part expose, part primer on the pitfalls and pratfalls of a bizarre industry - without coming across as an obsessed fanboy, I'd like to offer that this is a truly amazing book by a truly amazing woman. I've toiled on the anonymous periphery of the imaginary town of Hollywood for (mumble mumble) years now, and what's most astonishing is not just that the author has managed to not only retain but grow and express her own humanity through it all, but she has done so while always discovering the humanity in others, some of them barely human themselves. Wry, candid, truthful but never bitter; yeah, yeah, this book has the requisite fun insider dirt on some Hollywood bigshots (and wannabes), foibles and all - but what makes it such a gem is how much the read feels simply like hanging out and shooting the breeze with a good friend.

Do yourself a favor and buy this book!

Jill Abrams manages to pull shock, surprise, tears and laughter (lots of laughter) from the deepest, darkest reaches of the entertainment industry through her ability to create a vivid world that can be seen, felt, and sometimes even smelled. She guts the underbelly of Hollywood like a newly dead fish leaving it as raw and tender as the freshest sushi, served up to the reader with all the sexy spice of wasabi and ginger.

With each story she gives us a look - both favorable and unfavorable - at various celebrities with the rose color glasses not just removed, but shattered in pieces on the ground. And this stark naked truth with which she tells each tale provides an honest glimpse at some of Tinsel-town's greatest stars.

As a fellow Jewish Lesbian, I find Jill's honesty refreshing and her strength and wisdom inspiring. As a fellow writer, I find her wit and humor rewarding. As a fellow human I find her life tragic. Wait! No, that wasn't the word I meant to use. As a fellow human, I found her life, truly fascinating.

And so, I am telling you: this book is well worth the read.

I own both made for TV movies and all 20 episodes. Darrin McGavin was perfect for the role of Kolchak. I waited every week for a new episode, and was scared every minute as I watched them. The shows/movies not only keep you in suspense, but make you wonder; did it really happen? (If you do not understand that last statement, you never watched the show/movie.) Mr. Dawidziak did a fantastic job of writing this book. Every angle is covered from the movies and shows. The stories behind the shows are very interesting. I have the 25th Anniversary tribute issue. There are interviews with the surviving cast plus photos, biographies, and an episode guide are only part of this compendium. Carl Kolchak is a character that will live forever, read this book and you will want to watch the series. And for those X-filers out there, you need this book: because it is the inspiration for the X-Files.

It is funny; I have always loved the Night Stalker series and did not know this book existed. I flew to Seattle, Washington to tour the underground city I saw on the 2nd Movie, "The Night Strangler" and at the end of the tour in the gift shop was this book, hidden in the corner. They told me they use to make reference to the show during the tour, but for the last decade or so, no one knew what they were talking about. This came up because when they asked why we were on the tour, my friend told them I made him come on the tour because of the Series. (It is true) :-)

I ran across the night stalker on cable a couple of years ago. Despite it's age I found I really loved the show. It has a great mix of humor along with the 'horror'. (the horror is the most dateable bit).

This book gives you great background to the series (and why there is so little of it) and the actors. It also includes a fully detailed episode guide and a critical evaluation of each episode.

For people who enjoy the night stalker or who want to know more about the show or actors/producers you can't go wrong with this excellent guide.

Mark Dawidziak has put a lot of work into this companion, which documents the development and demise of a television series before it's time. I remember all too well those Friday nights from 1974-1975 watching Kolchak: The Night Stalker in my youth. Dawidziak's book does not disappoint. The book is full of documentation and photos, not to mention it's documented confirmation of Kolchak: The Night Stalker television series' influence on Chris Carter's The X-Files. Personally, I still think The Night Stalker was a better series. It's too bad Dawidziak didn't have more episodes to work with, due of course to the show's premature cancellation.

Mark Dawidziak's first attempt at a history and critique of the Kolchak mythos was Night Stalking: A 20th Anniversary Kolchak Companion (Image Publishing, 1991), sparsely distributed and now a collectible. Aided by Kolchak creator Jeff Rice, he then wrote Grave Secrets (Image, 1994), the first Kolchak novel since Rice's novelization of Matheson's Night Strangler teleplay. Rice was pleased with Grave Secrets, but not with Image's dismal distribution. He withdrew literary rights to the character.

Details are in Dawidziak's Night Stalker Companion, a heavily revised and updated version of Night Stalking, and a well-structured chronicle of the rise and fall and afterlife of Carl Kolchak, a hard-boiled reporter who investigates supernatural and extraterrestrial crimes. Dawidziak interviewed all key players, and while he accentuates the positive, he does not eliminate unpleasantries. Kolchak would expect no less from his biographer.

Kolchak first appeared in The Kolchak Papers, an unpublished 1970 horror novel written by newspaper reporter (and actor) Jeff Rice. Rice submitted it to Richard Matheson's agent, who sold TV movie rights to ABC without first signing Rice. Rice had hoped to adapt it himself, but the agent had already secured the teleplay assignment for Matheson. Dawidziak adds, "It's important to note that Rice does not in any way blame Matheson for what he views as shady Hollywood dealings."

Dawidziak's Dan Curtis comes off as a bit of a bully, or at least possessed with a Hollywood ego. When ABC bought the rights to Rice's book, Curtis was executive producing the last season of that network's Dark Shadows. "'I wanted to say good-bye to it so bad I couldn't see straight,' Curtis reflects. 'We got around to the last year and I was completely tapped out ideawise. And we ended up with some dreadful stories during that last year. It was like being in jail.' " Dark Shadows did afford Curtis the opportunity to direct a feature. Dawidziak cites House of Dark Shadows (1970) as Curtis's directorial debut, followed by Night of Dark Shadows (1971).

When Barry Diller asked Curtis to produce The Kolchak Tapes as the TV movie, The Night Stalker, Curtis requested the director's chair. It had already been given to John Llewellyn Moxey (Horror Hotel 1960, aka The City Of The Dead). Curtis didn't interfere with Moxey's authority on set (and it was a happy set), but he'd grumble to McGavin, "Will you look at the setup Moxey has here. What's he doing?" [Curtis contradicts this version of events in his interview on Night Stalker/Night Strangler DVD, claiming that he was offered the director's chair but turned it down, and that he himself sought out Moxey.]

Despite Moxey's setups, The Night Stalker was a ratings success when it premiered in January 1972. So too The Night Strangler, its 1973 sequel. Curtis got to direct. Rice was less fortunate. ABC press kits and trade ads hadn't credited Rice for the first film. Rice lobbied to script the sequel, but was given the runaround by network and studio execs. Instead, he wrote the novelization for Matheson's teleplay. Dawidziak says of Rice's original deal, "No sequels or series could be made without Rice's permission." Apparently, Rice didn't press his advantage.

The Night Strangler ended with bad blood between Curtis and lead actor Darren McGavin. Near the end of the shoot Curtis "was berating the crew something awful." McGavin defended them, then quit. Curtis insisted he stay for closeups, but McGavin replied, "You've got enough film. Make your movie. Goodbye."

If Curtis comes off a bully, Rice sounds paranoid. Rice tried vainly for years to launch a series of Kolchak novels and comic books. He sees two factors blocking him. Publishers "keep trying to acquire the rights for pennies and balk at paying Rice nearly anything at all, doing their best to keep Rice from doing any writing if possible." And Rice fears "that deals are fashioned with the intention of keeping Kolchak locked up and off the market."

Rice has reason to be paranoid. He first learned of ABC and Universal's plans to produce a Kolchak series from the April 24, 1974 issue of Daily Variety. No one informed Rice about a series in the works, even though his contract forbade a series without his permission. Rice tried to coax Universal into buying the rights it was exercising, while simultaneously working on script ideas for the show and a contract for future novelizations. When in August Rice's attorney requested that Universal "settle the rights question," Rice was barred from the lot. His calls were no longer returned. His novelization deal collapsed. Rice finally filed suit in March 1975, shortly before Kolchak was canceled. The suit was settled nine months later. Rice never "made it" in Hollywood, either as scriptwriter or actor (his promised role in the first film had also fallen through). Perhaps he was branded a troublemaker. Today he's a certified paralegal.

While McGavin loved The Night Stalker film, he had no desire to do a series (he had a thriving career in TV movies). McGavin only relented because Universal agreed to let him produce. Once he was on board, Universal turned producing chores over to Paul Playdon (Dan Curtis was uninterested). Determined to keep Universal to its word, McGavin acted as de facto producer. The tug of war between "producers" created turmoil and tension. Playdon quit after two episodes. Replacement producer Cy Chermak failed to ease tensions. Long hours and all night shoots only increased pressures. By February McGavin was begging network and studio to cancel the show. Dismal ratings granted his wish.

Yet Kolchak survived. An inspiration for Dawidziak while he was still an undergrad journalism major, the author is amazed by the many reporters he's met over the years who've expressed similar sentiments. Kolchak also inspired The X-Files, which McGavin dismisses as a humorless ripoff.

Dawidziak confronts other rumors that have plagued fans for decades (such as Curtis's plans for a feature film), making this a juicy and enlightening book. Yes, there's an episode guide. And some errors. Dawidziak says of The Night Stalker's initial 33.2 household rating: "about one out of every three people in the United States was watching Carl Kolchak track Janos Skorzeny." No, because a household rating does not indicate how many individuals per household are viewing. Nor even "about" how many.

The index is inadequate. While many of the names and titles in the text are only mentioned in passing, often as past credits, I'd want them included. The index even excludes some key textual references to Rice.

Pomegranate Press is a fine publisher for The Night Stalker Companion. Founded in 1986 by Dark Shadows actress Kathryn Leigh Scott to self-publish My Scrapbook Memories of Dark Shadows, its success induced her to release additional Dark Shadows books (all beautiful, lavishly illustrated, and informative). Pomegranate's Dark Shadows contacts likely aided Dawidziak. Dan Curtis, composer Bob Cobert, and actress Lara Parker all worked on both Dark Shadows and the Kolchak mythos.

Pomegranate has a curious custom of listing deceased actors in its Dark Shadows books, with date of death. The Night Stalker Companion follows tradition with its own R.I.P. page.

The Night Stalker was almost the forerunner of Buffy the Vampire Slayer, both in subject matter and humorous handling. It ran out of steam after a mere twenty episodes (and its forerunner pair of top-rated T.V. movies), and has ever since been nothing more than a cult favorite, unknown to everyone but its small circle of ardent fans.

Mark Dawidziak has done us all an immeasurable favor by keeping the legacy alive, introducing Carl Kolchak to new generations of viewers who might otherwise never hear his name. His wonderful book contains interviews with the principals responsible for bringing Kolchak to T.V., both before and behind the cameras, and the best available pictures from the series.

For those who are already Kolchak fans, an invaluable resource and a welcome walk down memory lane. For those who are not (yet), a proper introduction to the original supernatural super-sleuth.

This is like the handbook version of the Being and Doing book by the same author. Something like a fist-aid kit in case of an "emergency" on stage or during a take. Break glass before storming off the set in disgust.

This is one the of the best approached to acting. It makes everything clear.
Also an easy read.

I'll admit that at first glance Eric Morris's System can seem scary and misaligned. But I believe it to be a very misunderstood system.

I too was skeptical in the beginning, but after studying this technique (with Eric, but mostly with Anthony Vincent Bova in NYC, Eric's protégé), and after seeing the difference from "acting" and what this Work creates, there's no way I'd ever go back to the "acting" form.

Eric Morris teaches the actor how to react honestly and in the moment, including everything that's going on inside and out-the other actor, the props, the imagined objects that one might be working for-that impels you to "do" whatever the character is required to "do", but out of a real reaction, not just because you're doing it.

I've studied Adler, Strasberg, Meisner, and with Robert Lewis. I've hashed through the process of verbs, actions, objectives, obstacles, and onward; and they're all good and dandy for figuring out what's going on in a script, what the characters are doing and why; but other than that, these techniques never helped me figure out HOW to make it real to ME... How to get to a place where I'm actually functioning from a real, organic, truthful state ... How to get to the point where I am "doing" all the script tells me to do, fulfilling the "actions," out of an honest REACTION to what's going on.... Not just "playing" as if I am; how, in essence, creating the realities of the character....

No matter where you go, all the great teachers (and actors) say the same thing, "Acting is reacting." Even the most used and cherished word in the actor's language, LISTENING, is about focusing outside of yourself and REACTING to what is there. This Work trains the actor to create the stimuli that will fulfill the demands of the piece, specifically, wholly, and with Truth.

For the most part, plays and movies are imagined circumstances, and we as actors, have to create stimuli to react from, so we're not just faking, or indicating our performance. I'd rather watch two people have a relationship on film or on stage, than two actors reciting words, no matter how well they "act" it. If they don't believe it, I won't. This System trains you to create those stimuli and REACT to them honestly, fully and truthfully.

A crucial part of Eric's System is based on Instrumental Work, which is the process of identifying blocks and fears and tensions to expression and, one-by-one, through the use of hundreds of exercises, eliminating them. It's really about self-awareness-learning about yourself and how you function, so you can "get out of your way" and function truthfully on stage or film and get to where you need to get to in a scene. I think this is the aim of every method, but I feel that this System is the only one to address the issues of the actor on a personal level. If I'm tense and depressed (in real life; me the actor), I'm not going to be able to REACT truthfully in a scene where the character has just won the lottery and is jumping with joy. If I push for the emotion, I'll be faking and will "act" that I'm joyful. If this is enough for you, then Eric's work is definitely not your thing. But if you're looking for creating reality and REACTING with truth, nothing surpasses this Work.

I know that Meryl Streep, Brando, Ed Norton, Johnny Depp, Jack Nicholson, Al Pacino, Robert DeNiro, and a handful of other amazing actors don't fake it, don't just indicate the realities of the character and the circumstances. They create them. Be it imagined stimuli they are creating, or through the available stimulus around them, they open themselves up and REACT truthfully to everything -the other actors, the set, the space, the props, the object or person via Sense Memory, etc. I KNOW they do this for a fact! They've talked about it for years.

Eric helps you get to the place that they do-where you can function truthfully, where your instrument is accessible and available, where you are open and are willing to go where the character needs to go, emotionally, psychologically, and physically.

My advice is read Eric's books. If they pique any interest in you, if they strike a cord, study with Eric or Anthony, or at least contact them for further information about the system. I think you'll be quite surprised and utterly amazed at the tools this Work can provide you as an actor.

I am personally an Eric Morris actor. I live in Los Angeles and I attend his workshop weekly. Having actually experienced his Craft personally and by watching hundreds of others come and go, and succeed and fail: it has become strikingly obvious to me that his Work works. One of the elements of this uniquely personal Craft is that it can be very overwhelming and emotionally draining. Through my two plus years of experience in the Work, I have found that very few Eric Morris actors actually uses the Craft exactly as it is intended. I believe as do many of my contemporaries that the Craft provides the actor with a limitless supply of "acting" tools, which encourage the actor to experience truthfully. It is painfully obvious that "truth" or an organic expression of impulses and emotions is severely lacking in theatre, television and on screen. There is not one person who has come to class and gone on stage who has not gone through a substantial growth. Being a student of acting my entire life, on a constant pursuit of truth in my work, and having over 25 teachers since first grade: I have found the one teacher on the planet who can answer all of the difficult questions actors ask about the mysterious art of acting. If you have a thirst for truth in your acting and in how you live your life, you foolish to remain ignorant of Eric Morris.

I give this book a fairly high rating because all acting technique is personal. An actor's job in receiving training is to simply find the approach that works best for the individual. Method acting simply means to find one's own method. While responses to acting texts, approaches and classes are always subjective, one should always remain open for new ideas.

That said I reject Eric Morris' approach to acting on a personal and professional level.

As every actor knows (or at least should know), his/her job is "to do nothing more than to be believable while telling the best possible story that serves the script" (Bruce Morris). Or as Stanislavski defines acting: "Acting is living truthfully under imaginary circumstances". The root of an actor's technique must always be action. Again with Stanislavski: "while on stage, an actor must always be enacting something". Action verbs are the basis of all acting/storytelling craft. An audience does not pay precious money to watch an actor have an emotional moment, but rather to have the moment themselves.

All the great acting teachers, building upon the work of Stanislavski, have stressed the importance of finding and playing an action as opposed to an emotion. Robert Lewis, Sanford Meisner, Stella Adler, Uta Hagen, Michael Checkov and even Lee Strassberg (although he ventured too far into the emotional realm) all taught students to find the appropriate action and embrace that reality as the basis for their storytelling craft. Emotions are the by product of a person engaging in an action and either failing or succeeding in the quest to fulfill that action.

Eric Morris' approach, centers on "Being" exercises. He asks his students to simply get up in front of a group of people and simply "Be". As related in this book, he proceeds to grill them about their day and call them on the carpet for any false emotion as he dredges for some emotional moment. Morris' approach, at least to this reader, comes off as simply another example of acting teacher "power tripping" as well as pseudo-therapy hidden in the guise of acting. This approach simply leads to the teacher holding such power over his/her students as they become obsessed with pleasing the teacher as opposed to truly pleasing the audience.

This approach leads to emotionally crippling an actor. Actor's become obsessed with evaluating their acting on the basis of whether or not they "felt" the scene. If an actor finds they cannot reach the emotion, they immediately fill themselves with a great sense of guilt and personal disgust at their inability to produce an emotion. Acting should ultimately be a freeing experience as well as a fun and celebratory bit of life. Many acting teachers and actors, bowing under the weight of thousands of years of social stigma feel that they must deny the "fun" factor of acting and make it a painful and serious affair.

As any director or acting teacher can attest, when one simply asks an actor to "be" on stage, one will watch an actor squirm, blink and fold inside him/her self. Put an actor on stage and ask him/her to push a giant stone up a mountain, one will watch a fantastic story filled with all the emotional truth an audience could ever hope to find.

The key to acting is not "being" it is in fact "doing". Apparently Morris has a workbook that combines the two concepts. I will certainly read that as well- again the justification for the high rating. I am still learning my craft and I pray I will always continue to do so.

NO ACTING PLEASE is certainly worth reading and worth trying though so that one can form their own opinion. After trying Morris' approach, this review is simply my opinion. Proceed with caution.

I bought this book for the library where I am a reference libarian as soon as I saw it, and it is worth every cent of the purchase price.

Now I have the title on my wish list, and I have hinted strongly to certain offspring that this book would certainly make a wonderful Mother's Day present!

I purchased this book for my Sister-in-law, who is a film historian. She absolutely loved it. The artwork is fantastic....almost worth buying two copies so that you can remove and frame some pages.

This is a beautifully illustrated book if you are at all interested in old movie posters and the people who created some of them.

I was very interested in this book since my cousin, Jane Powell was one of he authors. I have to say I was very impressed and actually surprised about beautiful the book turned out. Anyone with an interest in movies will find the art of the posters interesting.

This book is a must-have for movie buffs, but I was bowled over by the beauty of the art. From the spectacular Batiste Madelena cover of Rudolph Valentino through dozens of creative renditions of original old-time movie posters, to the back cover depictions of Gloria Swanson, Norma Shearer, Walter Huston and Boris Karloff, the artistry of these unsung craftsmen is dazzling. "Now Playing" is now prominently displayed on the coffee table in our living room.

British film historian Christopher Frayling comes through with another book about the great, polarizing Italian director Sergio Leone.

This book is medium on actual reading material but heavy on pictures- big, colorful, beautiful reproductions of film posters from the last 40 years. It only covers Leone's five Spaghetti Westerns (or Italian Westerns) that he directed, extensively. It briefly mentions the one he produced. Any true fan of Leone's Man with No Name trilogy will love this book.

If you are a big Sergio Leone fan, please read Frayling's masterful biography of him, "Something to Do with Death," available on Amazon.

Now, the nerd aspect: You may not want to pay for this book unless you actually understand movies. Frayling knows enough to interview people like the Director of Photography, but most Americans don't even know what that means. If you can name Leone's famous Production Designer, this is definitely the book for you.

Also, it is a joy to hear what went into "Once Upon a Time in the West," the finest Italian Western ever made and Leone's only true masterpiece.

Really good purchase for S.Leone estimators.Interesting pages about behind the scene and some funny screenshots from the set.

Highly recommended for fans. DVD owners will recognise Frayling as the man who provides some history & comments on the DVDs. The book contains interviews with actors, crews and later directors who were influenced by Leone. Also lots of posters (those days they were artwork) from different countries, production sketches & photos.

Note that this book concentrates on Leone's spaghetti westerns with only brief mentions of his other movies so it is not an autobiography. FYI, his first few movies were sword and sandals stuff.

In general, this is like the bonus materials of the DVDs but in a gorgeously printed format.

A great book for anyone who loves Sergio Leone, the true master of the spaghetti western and his great characters. I liked learning about my favorite The Man With No Name and Clint Eastwood the actor who portrayed him. Plus the other great characters he created like Tuco, Eli Wallach, and Colonel Morterimer, Lee Van Cleef.
It was very interesting to see how he put his heart and soul into his movies, and how a man from Italy gave us the most realistic view of America's most remarkable time, the old west.

This book is like an encyclopedia of Leone's Italian westerns. The detail on each film is exceptionable, and Frayling writes in a style that always keeps your interest. The research that went into this book must have taken years. Thanks for filling us in with all the behind the scenes material. Excellent job!

The Author of this book should be very proud! I mean I thought I was a fan and then I read this book and I realized so much I didn't know! This book has shown me how I can dedicate and try to make this show more popular by supporting it!! Read it, it's GREAT!

Pro's: It was interesting to read about the actors and their were plenty of interesting photos. I like reading the comments from the actors on certain episodes.

Cons: The episode guide was good, but it was something I could care less about. I wanted to see more behind the scenes facts and this book gave me what I already knew. Also the quiz at the end was impossible. I've been watching the show since it started, and the questions are based on details that are impossible for even me to remember and the only way you'd remember them is if you taped each episode and/or took notes from each episode. I read what the other people said about the book and thought it would be great, instead it was a dissappointment.

Over all: Don't get this book unless you are a NEW fan and don't know anything. Also don't even try the quiz!

I think that this book was really good, probably because I am a po5 fan! It has good information that I didn't ever know about. I recommend it, and any other party of five books!

It has bios of all the stars and guests, recaps of all the episodes of the first three seasons, behind the scenes info./pics, plus tons of other great stuff!

If you love PO5 as much as I do (which beleve me is a alot!) this is the book that you should read. It gives you the inside scoop on the show and the stars and also includes tons of quizzes and an episode guide. So if your smart (which you must be if you decide to watch PO5) read this book now!

Read 4 Arguments...Jerry Mander Then this book! If you are looking for "ways" to get rid of the TV, or "ways" to occupy your families (or your) time away from the TV. This is not the book. This is the book if you would like statistics, and startling information about TV in the lives of people. Although the TV refrences are quite early 80's ALL of the information is very useful, persuasive, and passionate.

Dont believe the hype up there! It is relevant to this day in age, take yourself to account, before the TV takes you! Buy this book and dont burry it into the shelves, pass it on the neighbors, your childrens teachers, family and friends! this book is for EVERYONE!

For a long time I have been discouraged in my efforts to establish two-way communication with children. I would bring books, toys, and games to social functions and share them with children. Once one activity was over, the children would stare at me, waiting for me to start another activity. Why won't they provide any input of their own? Am I overpowering them without realizing it?

This book explained everything: the children think I'm a television!

This book is about the effects of television on children and families.The use of television starts innocently enough.Too often TV is used as a child minder so that parents can get some peace and quiet: to prepare meals, so that Mom and Dad can sleep in at week-ends, etc.But dangers lurk in this innocent scenario.Before long, the kids are hooked on watching, and parents are hooked on a device for having the kids out of the way.Marie Winn aptly calls TV a drug.Many parents are aware of the dilemma, but often they are and the kids too hooked to break the habit.Winn explores the process of this addiction and the harm done to vibrant human living.For example, excessive TV viewing hampers the personal and social development of the child, so some mothers get a job to escape from their maladjusted kids!Winn offers helpful advice to families trying to cope with TV.She gives examples of the benefits families have experienced when they went without TV, such as increased family interaction, more creative and satisfying activities,doing various things that had been put of, and so on.Marie Winn gives many examples from family life which add great interest to this thoughtful and helpful book.

Excellent. A must read for parents of kids of all ages.It is really well written and should make a responsible parent a believer. Kill the TV before it kills your kids brains or at least be very selective as to what they watch.

A wonderful book, that all parents should read in order to eliminate their TVs and *live* again.

I have been taking recommendations from Berardinelli's website for a few years. This book is a compilation of his favorites from about the last 10 years, and are arranged by genre (Action/Adventure, Animated, Comedy, Drama, etc.). An appendix uncovers some 'easter eggs' (want to see Gollum's MTV speech from the DVD?), and another reviews directors' cuts. Berardinelli includes only 'recommended', 'highly recommended', and 'must see' movies.

Berardinelli exudes both open-mindedness and conviction in his reviews. He sees through audience manipulation and recognizes artistic vision. He's not syndicated, and has only his fans to please. I get the distinct feeling that he writes reviews to create a more demanding movie viewing audience. If my feeling is right, I hope he succeeds.

You'll have to visit Berardinelli's website (www.reelviews.net) to experience the other half of his vocabulary: the colorful invective he uses to trash truly bad films. A great example: "I have written this review as a public service to those who stop by my video column. I sacrificed my time so others don't have to. Feel free to ignore this warning..".

James Berardinelli's Reelviews website has been my go-to source for movie reviews since I stumbled upon it a few years back. I admire his candor and insightful analysis of films and the film world. Just like a previous reviewer said, since discovering James I have not wasted money seeing a dud film in the theater).

Best of all, you can always trust James to tell the truth. If the movie is schlock, he lets you know; if the movie is decent, he'll tell you who might be most attracted to seeing the film in theaters (often times by providing a list of similar films like a "if you liked these, try this" recommendation); and if the movie is great, James sounds the horn. And I must admit, while I look forward to seeing four and five star films, I look forward to reading the one and zero star reviews (there's just something deeply gratifying and entertaining about a reviewer ripping some piece of schlock to the tiny bits it deserves...call it my guilty pleasure).

So if you want a "Reel" honest review, James is your man. Pick up the book, check out the website (I recommend spending some time running through "ReelThoughts" for a few great ideas about what is going on in the entertainment industry, what could/should be going on, and so forth), have yourself a ball. I only hope Mr. Berardinelli can find the time to put together a DVD guide as well for those of us - and he knows were out there, growing in number - who prefer the comfort of home to the current theater experience.

You da man, James. Keep it up!

This book provides heavily edited versions of James Berardinelli's website movie reviews. Unfortunately, instead of skimping on plot descriptions, he skimps on analysis, which is his strong suit.

My first exposure to Berardinelli was the first version of this movie guide. And I didn't think much of it. Some time later, I was discussing Berardinelli with a friend, who advised me to check out his complete reviews posted on his website. After reading the complete reviews, with all of the analysis intact, I finally became a believer. But despite all of this, I now own both versions of his movie guide, which I find useful for quick-reference purposes. (Note: If this movie guide contained Berardinelli's complete, unedited movie reviews, I would bump my rating up to four stars.)

Note to ALL film critics: In the future, try to restrict your movie plot summaries to just one or two paragraphs, and then get on to what you were truly put on this planet for, i.e., providing analysis and criticism.

(Note: this review assumes that you are not terribly familiar with James Berardinelli. If you are, skip to the last two paragraphs.)

Growing up in a Dallas suburb, there was nothing much to do but to get a ride over to the local multiplex and catch the latest flicks. Early on in my preteen years, of course, almost anything would catch my interest (save for something like Jane Eyre), but after awhile it became apparent that my time would be better spent going to movies that were actually decent. So, this led me to peel open and dog-ear the "Guide" section of the Dallas Morning News, always skimming the review snippets before deciding to which movie I would beg my mother to take me. However, while this system proved adequate early on, it became apparent that I was still spending time watching alot of terrible movies, movies that had been given such wonderful critical catch phrases as "Two Thumbs (Way) Up!" (which I'm sure must be trademarked or something similar by now) or "Four Stars! One of the best movies of our time!" Which, of course, led me to a gradual disillusionment and the growing belief that all critics were cash-mongerers being paid off to write catchphrases to be used in advertisements.

I still think that about many critics. But eventually, I discovered rottentomatoes.com and it proved to be a good, brute force way of finding quality movies to spend a hard-earned 8 bucks. I came to notice, however, that one reviewer in particular kept standing out for well thought out, well-read (and well-seen) reviews, many of which corresponded to my tastes and interests. It was in this way I came to find James Berardinelli. His name was a bit of a pain to remember at first, but it soon became synonymous to me with pure, intellectual and quality reviews.

Very few critics, I feel, are able to properly enunciate precisely why they feel a movie is good or bad. I've read many a four star review of Pulp Fiction, for example, that was filled with vague assessments and ephemereal praise; namely, that the critic had realized they had just seen something wonderful, but couldn't quite express why. And sometimes this enunciation can be done in overkill; however intelligent a review from the New York Times or the Chicago Tribune may be, sometimes they seem a bit *too* intelligent, a critic trying too hard to maintain an image or trying to be Faulkner when Hemingway would suffice.

It is, however, this precise skill of putting down in words that certain "je ne sais quoi" many of us may feel when watching the latest masterpiece that makes Berardinelli brilliant. It is his irreverant attitude to the worst of movies, and his superbly insightful and analytical approach to even the most untouchably brilliant of movies and his refusal to reduce his thoughts to a catchphrase that makes every read an enjoyable one. I never read reviews in my free time for fun before, but now I pour over Berardinelli pages as if looking over a great literary tome. And in fact, his reviews may be; each review opens a dialogue with the reader, explaining everything what one wants to and needs to know. One has a question, and Berardinelli has anticipated it and answered it. If anything, I wish his reviews were longer.

However, it's simply more than just Berardinelli agreeing with my tastes. In fact, I found I disagree with him on quite a bit of movies, but unlike many other critics, a point of divergence is not an irreconcilable-"oh-he's-just-one-of-the-crazies-who-liked-star-wars-episode-one" moment but rather a way to see an alternative opinion presented intelligently and analytically. If anything, if you're used to just reading reviews from your local newspaper, Berardinelli will elevate your level of discourse with movies and will broaden the way you think about the art of filmmaking.

That being said, why do you need to buy the book when all his reviews are archived for free on his website? If you've a soft-spot for reviews and movies, this is a good addition to your library, beating out the more mainstream works such as "Videohound's Golden Movie Retriever year XXXX" (which I never read for fun). Even then, a collection such as this belongs in the category of art criticism, not movie reviews, and for that reason a hard copy will always be welcomed as a permanent reference for the thoughts and analyses of one of the most important critics of our time. If that's not your thing, having a hard copy of the reviews means that you can always quickly look up a review without having to worry about booting up a computer or remembering how to spell "Berardinelli." If anything else, this makes sure that you vote with your dollar and support a critic who deserves greater exposure.

(I realize the overly-glowing tone of this review, but if you've read Berardinelli, you'd understand.)

I've been an avid reader of James' website for the last year of so. I have come to value his reviews over almost everyone elses. He never fails to expose a bad movie and tell exactly why in an intelligent, and sometimes humorous way. I've often been prompted to see a movie that I otherwise would have probably overlooked. James, if you read this, ignore that jerk who gave your book a one star. Everyone is entitled to their opinion, but writing scathing reviews that are based on questionable informatio is unecessary. I look forward to reading more of your reviews and your next book. Take care!

Really great classic artwork..One of the finest illustrators for many years. If you enjoy this type of art, this will be a fine book for your art collection with an insight into the head of Mr Griffin. Two thumbs up! 5 Stars, and a big YEE HA for this book! mondocain

One of the Best in his field, and respected among his peers, Rick Griffin ruled. Great book and just a sample of the great work that came from this man.

This is a fabulous treat for the eyes.
Griffin perfected the late 60s San Fran poster art style in his work for the Dead and others (cover of Aoxomoxoa, for instance, or the immortal surfing eyeball poster for the GD with It's A Beautiful Day), and he was also a phenomenally gifted painter, spraybrush stylist, and pen and ink man. He takes the art deco influence of the SF school and melds it with a classicist's sensibility, creating a beautiful synthesis of mind and Mother Nature.
There is no doubt that Michelangelo or DaVinci would smile in appreciation at Rick's Omo Bob Rides South, a six-page black and white masterpiece where each page is an absolutely perfectly composed gem that stands on its own as a true work of art. He exhibits the total control of a master, and his eye for symmetry is astounding, as is the depth of his chiaroscuro. Griffin is also one of the great letterers of all time; it's a real joy to read words written in his inimitable script (but imitated ever since, including almost every decent graffiti artist).
To top it off, his writing is genius in Omo Bob, reflecting a deep understanding of life's many paradoxes. If you've never experienced this work, get good and ready in your favorite way (RG was an early fan of Dr. Hof, and that influence is clearly felt) and then spend at least ten minutes on each page, letting your eyes bathe in the serpentine brilliance; you will be endlessly rewarded. I still enjoy it at least once a year, decades after my first exposure to it, and never tire of its mellifluous lines and incredible detail.
The book also highlights some of his early surf work (a surfer through and through, Griffin's work embodies the grace and flow of a true waterman; no one has ever visually conveyed the joy of a wave like RG), his album covers, his paintings, and various pieces.
But it is Omo Bob and a couple other pen and ink pieces here that ensure his artistic immortality. Griffin was by all accounts a wonderful friend and a very spiritual man, and those qualities shine through in his art.
It is somehow very comforting and reassuring to gaze upon his work;
there is proof here that a deep and perfect form lies beyond the seeming chaos of the physical plane.
What more can you ask from art than that?

This book was out of print for a while and ebay prices were not cheep. To get it for under $20 seems like a steal. It is exactly as I remember from the late 80's. Beutifully reproduced on nice paper.

This is an excellent printing on heavy stock of some of the finest works from a master of poster and comic artist from the San Francisco Haight Ashbury era. I think it is a wonderful addition to any collection of psychedelic ephemera, and an admirable part of my own art library.

Great, fun book for Road Rules fanatics

I am obsessed with everything on Road Rules and Real World. To me, this was one of the better MTV books. You should read it if you like learning about how the characters really felt during their adventures. It was great!

I started reading this book and i couldn't put it down. The pictures are so funny, and the entrees are juicy and tell you every thing that you never knew about the casts. I think this is a great book.

As an almost-obsessive fan of both the Real World and Road Rules, this was definitely one of the better books. Even if you have watched every episode of the shows, like I have, you should get this book. It tells what really happened with the romances and fights; what cast members really thought of each other, and it even contains lost missions that were unable to make it onto the show. I would recommend this book to anyone who has seen the show. So order it today!

This book had tons of information. It really made you feel like you were there. It gives you how cast members really felt about what the other cast members were doing. It gives you the FULL story, not the part that Bunim/Murray wants you to hear. You actually find out the reason the cast members were arguing, not just the argument. I hate to read, but I finished this book in just two days. Better than Road Rules: Passport Abroad and In the House: Real World Seattle. If you only plan to get one book about The Real World or Road Rules, this is the one!