100 Greatest...

By: Christopher J. Olson

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Hardcover | 12 April 2018

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Hardcover
352 Pages

Dimensions(cm)
18.6 x 26.3 x 2.8

Hardcover

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The term âcult filmâ may be difficult to define, but one thing is certain: A cult film is any movie that has developed a rabid following for one reason or another. From highly influential works of pop art like Eraserhead and Faster, Pussycat! Kill! Kill! to trash masterpieces such as Miami Connection and Fateful Findings, thousands of movies have earned recognition as cult classics over the years, and new movies rise to cult status every year. So how do viewers searching for the best or most important cult films decide where to start?

In 100 Greatest Cult Films, Christopher J. Olson highlights the most provocative, intriguing, entertaining, and controversial films produced over the last century. The movies included here have either earned reputations as bona fide cult classics or have in some way impacted our understanding of cult cinema, often transcending traditional notions of âgoodâ and âbadâ while featuring memorable characters, unforgettably shocking scenes, and exceptionally quotable dialogue.

With detailed arguments for why these films deserve to be considered among the greatest of all time, Olson provides readers fodder for debate and a jumping-off point for future watching. A thought-provoking and accessible look at dozens of cinematic âtreasures,â this resource includes valuable information on the films, creators, and institutions that have shaped cult cinema. Ultimately, The 100 Greatest Cult Films offers readersâ"from casual cinephiles, film scholars, and avid fans alikeâ"a chance to discover or re-discover some of the most memorable films of all time.

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Choosing the greatest cult films is a losing proposition because it is so hard to get consensus. Olson (Possessed Women, Haunted States, with Carrielynn D. Reinhard, 2016) used crowdsourcing and his own longtime critical viewing to identify the 100 best, limited to one per director. Each entry is about two pages in length; information includes a brief plot line, background information about the film’s development and production, editorial commentary, and a see also list of similar films. Most entries include a black-and-white studio photo; several entries have a “spotlight” box about the film studio, writer, director, or actor. Five appendixes and almost forty pages of endnotes conclude the volume. The films selected skew toward horror/violence, covering Death Race, Evil Death II, Punisher: War Zone, and Trick‘r Treat. The writing is clear. The commentary is personal, yet expert and justified. This collection should attract film fans and start heated discussions.

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