Kolker's lengthy opinions sometimes suffer from tunnel-vision -- ideas that support his over-arching theories are stressed while other influnces on/aspects of the films are ignored. But his over-arching theories are penetrating nevertheless, and a lot of light is shed on the filmmakers he discusses. His treatment of Kubrick, whose work lends itself so well to intelluctual deconstruction, is especially good. The discussion of Spielberg is interesting but a little too high-minded for the relatively simple pleasures of Spielberg's movies. Most interesting of all are the author's comparisons of the filmmakers with each other, the culture of their times, and various narrative forms and goals. (Kubrick fans should also check out Michael Herr's "Kubrick", which reveals a human side to the legendarily chilly and cerebral director).

Although I missed the very first edition of this book in 1980, its second edition has been among my favorite film books for a decade. This is despite the fact that most of the film-makers discussed within (especially Scorsese & Altman) had made numerous films since the last ones featured in that edition. Now I have the joyful experience of catching up on their films with one of the finest writers on the topic of American film ever and his third edition of one of the finest books on American film ever published.

Kolker has gone back to his earlier editions and used the newer films to both confirm and refute his earlier evaluations. Many fans of film in general (and some of these directors, in particular) will not agree with many of Kolker's points. What makes this book so wonderful, though, is that you don't have to agree to enjoy it. Kolker understands that film criticism is meant to be a lively art, rather than a process of emalming great works of art. I may not agree with his assessment of each Scorsese picture but his analysis of Scorsese's significance is right on the money. At the same time, his newly added discussion of Oliver Stone is the first writing about the controversial director that gave a fair picture of his artistic strengths (there are many) and weaknesses (fewer but still significant).

Deserving of special note is the book's section on the late Stanley Kubrick. Kubrick's passing makes him the only film-maker in the book whose body of work is completely finished, a matter which Kolkee addresses in a special epitaph. It is indicative of both the quality and bold approach of the book that the author uses Kubrick's final film, "Eyes Wide Shut" as a springboard to ponder how Kubrick's work will fit into the history of cinema in the years to come. He does not make pat, easy judgements but rather admits that the still vital medium is ever shifting and even old works can take on new meanings in hindsight. It's almost enough to make me eager for the fourth edition.

I had a hard time staying interested when reading this book. The chapters are too long and dense. This book would be best used as a reference, not for enjoyment and learning.

A paradigm of intelligent film criticism. Kolker's astute and subtle formal analysis of the films puts many other so-called critics to shame, and his discussions of the political implications of cinematic form and style are excellent. It is a serious book about movies, and his arguments and insights need to be thought about and struggled with- they are not a meant to be easily digested.

Worth reading for the Kubrick chapter alone, this book considers the work of our finest directors and contrasts them with the conservatism and anti-intellectualism of 1980s cinema. Moreover, the author discusses community, alienation, dehumanization, and loneliness, all from a fresh, unpretentious standpoint.

I am thoroughly enjoying this book for it's insightful look at a fascinating filmmaker. It not only gives a history of the artist, it goes through his major works to date giving clear-thinking and well-researched ideas for the reader to consider. I am particularly interested in the sections on Wings of Desire because it provides a viewpoint I haven't found in any other sources on this subject -- referring to the many Biblical and Biblical contrasts in the film. Overall, I would highly recommend the book to anyone who desires a more in depth analysis of his works and not simply a film review.