This page shows you the list charts. By default, the movies are ordered by how many times they have been marked as a favorite. However, you can also sort by other information, such as the total number of times it has been marked as a dislike.
"More than 700 films from the classic period of film noir (1940 to 1959) are presented in this exhaustive reference book. For each film, the following information is provided: the title, release date, main performers, screenwriter(s), director(s), type of noir, thematic content, a rating based on the five-star system, and a plot synopsis that does not reveal the ending."
Michael F. Keaney is a fan of classic movies and the author of "British Film Noir Guide".
"This work presents 369 British films produced between 1937 and 1964 that embody many of the same filmic qualities as those "black films" made in the United States during the classic film noir era. This reference work makes a case for the inclusion of the British films in the film noir canon, which is still considered by some to be an exclusively American inventory.
The following information is presented: a quotation from the film; title and release date; a one- to five-star rating; production company, director, cinematographer, screenwriter, and main performers; and a plot synopsis with commentary. Appendices categorize films by rating, release date, director and cinematographer and also provide a noir and non-noir breakdown of the 47 films presented on the Edgar Wallace Mystery Theatre, a 1960 British television series."
NOTE: I created this list in May 2012 and had to add well over 75 titles to iCM, suggesting that there are many obscurities worth checking out.
Keaney included 26 of the 47 Edgar Wallace Mystery Theatre "films" into this work that he considered to be film noirs or at the very least marginal noirs. The remaining 21 "films" were not included.
#342-369: "Not reviewed" (since they were not available at the time of writing).
Michael F. Keaney is a fan of classic movies and the author of "Film Noir Guide".
In October 2013, the British Film Institute unveiled an exhibition chronicling the history of dark and macabre films. In an ambitious project, the BFI unveiled a collection of a large number of films spanning four categories, bringing these films to British cinemas over a four month period.
Films are arranged chronologically by theme.
The Four Parts:
- Monstrous (1-26)
- The Dark Arts (27-48)
- Haunted (49-71)
- Love is a Devil (72-99)
Although this exhibition includes a large number of plays, professional talks, documentaries, television series' and shorts, this list contains only the feature films presented in the exhibition.
Stephen Edwin King (born September 21, 1947) is an American author of contemporary horror, suspense, science fiction and fantasy. His books have sold more than 350 million copies and have been adapted into a number of feature films, television movies and comic books. King has published 50 novels, including seven under the pen-name of Richard Bachman, and five non-fiction books. He has written nearly two hundred short stories, most of which have been collected in nine collections of short fiction.
Check these links!
All written work of Stephen King:
All movies are listed here:
Stephen King almost always has a cameo in the movies or mini-series based on his novels:
All awards and nominations:
The lesson of this weekend’s box office is two-fold. First of all, we
have another shining example of why ranking is relatively irrelevant.
Disney’s Thor: The Dark World is the top film of the weekend with 38
million (-55 [smiley] , but it is not the top story of the weekend.
Universal’s The Best Man Holiday, Malcolm D. Lee’s sequel to The Best
Man fourteen years after the original, debuted with a genuinely strong
30.6 million. Said number is an unquestionable triumph for the 17m
comedy whether it ends up in first place or ends up in ninth place.
CLICK HERE TO WATCH FULL MOVIE———->>>>>> http://bit.ly/1gV6s6h
CLICK HERE TO WATCH FULL MOVIE———->>>>>> http://bit.ly/1gV6s6h
The second lesson of the weekend is yet another one that should have
been learned by now: Yes, black people go to the movies. We all like to
act surprised over and over when Tyler Perry scores again and again or
when Kevin Hart’s Laugh At My Pain or Let Me Explain break out in
limited release. It’s well-past time we noticed that black audiences
like seeing themselves onscreen. More importantly, and this is arguably
the key, they really like seeing black characters onscreen in starring
roles in films that don’t necessarily revolve around racially-based
adversity. When Hollywood bothers to make films like that,
African-American audiences generally show up in relatively solid
numbers, with periodic blockbuster debuts like this one. Tim Story’s
Think Like A Man, loosely based on Steve Harvey’s dating self-help book,
was a breath of fresh air last April. We all acted stunned when it
debuted with 33 million the weekend before summer, but in retrospect it
shouldn’t have been all that surprising. It was a genuine ensemble
romantic comedy that happened to be filled with black movie stars
without the Tyler Perry package. It was something we hadn’t seen much of
since the early 2000?s. If Think Like A Man was a (new) trendsetter
like The Ring, Malcolm D. Lee’s The Best Man Holiday is The Grudge, the
first major movie to capitalize on what Hollywood hopes may be a genuine
fad. It doesn’t hurt that several cast members of The Best Man have
become bigger stars in the last fourteen years. Taye Diggs, Morris
Chestnut, Regina Hall, Terrence Howard, Sanaa Lathan, Nia Long, and
Harold Perrinea are all “names” in the African American community. The
Best Man Holiday not only operated as a nostalgic sequel for audiences
pining for a time (1997-2004) when films like The Best Man weren’t an
aberration, but also happened to be primed to capitalize on being the
first big ensemble romantic comedy to open after the (we hope)
trend-setter that is Think Like A Man. The film played 75% female, 63%
35-and-older, and 87% black. The debut is slightly less than Think Like A
Man and higher than every Tyler Perry debut save Madea Goes To Jail
(40m). Presuming it has a weekend-to-final multiplier closer to Think
Like A Man (2.72x) than the usual Tyler Perry film (an average of around
2.25x), it’ll end its domestic run with 83m. That’s a huge win and
should make Sony , which has Think Like A Man Too set for June, very
happy. There really isn’t much news of note this weekend. Charlie
Countryman, Shia LaBeouf’s bid at indie respect, grossed just 8,579 on
fifteen screens. Alexander Payne’s Nebraska debuted from Paramount
Vantage on four screens this weekend, for 140,000 and a 35,000
per-screen average. This one is gunning for an Oscar nom for Bruce Dern,
but this strong debut means little one way or another for the
black-and-white dramedy as it copes with a strong Oscar season. Of note,
I would hope that Paramount releases this somewhat wide, as it takes
place in and is arguably about the kind of “flyover” country that
Hollywood often ignores but is ripe for the picking. There is a reason
that Bernie, which was a skewed love letter to Texas hospitality, played
all summer back in 2012. Paramount is at least expanding to ten markets
next Friday. Thor: The Dark World is doing fine, with a solid 38.5m
weekend. That’s a drop of 55%, which is a larger drop than Iron Man (-48
[smiley] , Thor (-47 [smiley] , and The Avengers (-50 [smiley] but
slightly smaller than the likes of Iron Man 2 (-59 [smiley] , Iron Man 3
(58 [smiley] , The Incredible Hulk (-60 [smiley] , and Captain America
(-60 [smiley] . I could argue that perhaps a smaller drop might have
been in order due to little demographic competition and a November
release date, but that’s beside the point. Thor: The Dark World has a
ten-day domestic cume of 147 million, with its worldwide total now at
479m, well above the entire S449m total of the first Thor. It may not
be leggy, but it has big enough numbers, and it’s doing well enough as a
kid-centric entertainment (see that 3.6x second weekend multiplier),
that it doesn’t need legs. Warner Bros.’ Gravity is nearing the end of
its initial theatrical run (I’m expecting an Oscar-centric IMAX
rerelease in early 2014), and it crossed S240 million domestic today
with a S6.2m (-26 [smiley] weekend gross. It’s the fifth-biggest
domestic grosser of 2013, having passed Fast & Furious 6 (S235m) and
its racing towards S500m worldwide. Free Birds earned another S8.3m
(-25 [smiley] for a new total of S42.2m. The good news is that Free
Birds is holding quite well. The bad news is that Free Birds has just
one more weekend before its goose gets cooked by Disney’s Frozen.
Lionsgate’s Ender’s Game held up okay, dropping 40% in weekend three for
a S6.2m frame. But having barely crossed S50m after 17 days (S53m),
it’s another dead would-be franchise. Not that it matters that much with
The Hunger Games: Catching Fire dropping next Friday. Richard Curtis’s
About Time has now earned S11m domestic but S53m worldwide, while Rush
has S26m domestic. Matthew McConaughy’s Oscar-bait drama Dallas Buyers
Club is hanging in there, having earned S1.7m on 184 screens in its
third weekend. Its cume is S3m. Paramount’s Jackass Presents: Bad
Grandpa earned an estimated S7.6 million (-32 [smiley] in its fourth
frame. It’s shown remarkable legs, ending the weekend with S90m, and it
will cross S100m around Thankgiving. CBS CBS +0.36% Films’ Last Vegas
held steady with a S8.87m third weekend (-20 [smiley] . It’s at S46.9m
total and, once it surpasses the S54m gross of The Woman In Black, will
become CBS Films’ biggest domestic earner ever. Oscar bait Captain
Phillips won’t quite make it to S100m by the end of the this weekend
(about S97m cume), but it should happen sometime over the next week,
while presumptive front runner 12 Years A Slave is slowly chugging along
as it retains its position as Best Picture “one to beat”, and it should
be just over/under S25m by the end of today. That’s it for this
weekend. Join us for the debut of Lionsgate’s The Hunger Games: Catching
Fire (review Tuesday or Wednesday), the single-screen debut of Disney’s
Frozen (review Monday or Tuesday), and the wide debut of Disney’s Vince
Vaughn vehicle Delivery Man. . . .