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I recently went to Las Vegas for the first, and probably only, time in my life. I hadn't read this book in years, and previously, it hadn't even been my favorite Hunter S. Thompson work. Thompson is dearly missed by many people, and on a personal level, I miss him deeply. He spoke to a true astonishment at the complete, unrelenting fuckedupedness of America and her politics, and he did it with a bite that was deserved and unmatched. He probably could have been a very rich super-novelist of popular, uninspired filth. He probably could have been a brilliant novelist of any kind. But he chose to do what he did, and he did it better than any of his generation. Like Mark Twain, he chronicled American stupidity in the tongue of his generation, and he captured it perfectly, from the insanity of the drug experience to the depravity of American politics. For years, no work of his stood out to me as much as Fear and Loathing on the Campaign Trail '72 or the Gonzo letters. Fear and Loathing in Las Vegas, to me, wasn't his best work. Then I went to Vegas. Suddenly, all the subtle differences between this and his other work made sense, and I realized that he had captured the true tackiness of the truest tacky city on the entire planet (though Dubai with their fucking Island fantasies are likely to take over soon). Fear &amp; Loathing in Las Vegas IS Las Vegas. It's a nightmare, a joke, a blunder of comical, cosmically-fucked proportions. It's not Sin City. It's where Sin goes to die when it's embarrassed for itself. It's where families go on vacations with ten-year-olds, children who get handed fliers for prostitutes. It's the living, pulsing, filthing embodiment of the Holy Dollar. It's sensory overload on a scale drugs can't equal, a place where you almost have to take a brimful of Valium and a pint of ether to feel normal and not feel utterly ashamed at the state of the human condition. It would make you want to blow your brains out if it weren't so goddamned fun, even if you're gay, you hate gambling and hookers make your brain itch. Yet you never, ever feel like it is evil or subversive or curious in any way. It's just about a buck, and every other blink reminds you of it. This is a place where Hunter S. Thompson could easily mingle with a law enforcement convention and not get noticed. This is a place where a lawyer could leave you with a hotel bill. This is a place where no questions get asked because no answers would make sense, and the only thing profound about any of it is that you know, on a gut level, that all the oil used to produce all the plastic used to build that city no doubt funded an island shaped like Australia that was built off the coast of the UAE over the weekend. This novel will never cease to be important, and one day, as a cultural artifact of a forgotten culture from a forgotten nation, it will be one of the most important anthropological pieces in existence. I wish he'd survived the Bush administration. We need this man.NC

Austrian playwright and novelist (1931-1989)

This is the life and times of T. S. Garp, the bastard son of Jenny Fields—a feminist leader ahead of her times. This is the life and death of a famous mother and her almost-famous son; theirs is a world of sexual extremes—even of sexual assassinations. It is a novel rich with "lunacy and sorrow"; yet the dark, violent events of the story do not undermine a comedy both ribald and robust. In more than thirty languages, in more than forty countries—with more than ten million copies in print—this novel provides almost cheerful, even hilarious evidence of its famous last line: "In the world according to Garp, we are all terminal cases."

Eleven-year-old Owen Meany, playing in a Little League baseball game in Gravesend, New Hampshire, hits a foul ball and kills his best friend's mother. Owen doesn't believe in accidents; he believes he is God's instrument. What happens to Owen after that 1953 foul is both extraordinary and terrifying. At moments a comic, self-deluded victim, but in the end the principal, tragic actor in a divine plan, Owen Meany is the most heartbreaking hero John Irving has yet created.

Raised from birth in the orphanage at St. Cloud's, Maine, Homer Wells has become the protege of Dr. Wilbur Larch, its physician and director. There Dr. Larch cares for the troubled mothers who seek his help, either by delivering and taking in their unwanted babies or by performing illegal abortions. Meticulously trained by Dr. Larch, Homer assists in the former, but draws the line at the latter. Then a young man brings his beautiful fiancee to Dr. Larch for an abortion, and everything about the couple beckons Homer to the wide world outside the orphanage ...

“The first of my father’s illusions was that bears could survive the life lived by human beings, and the second was that human beings could survive a life led in hotels.” So says John Berry, son of a hapless dreamer, brother to a cadre of eccentric siblings, and chronicler of the lives lived, the loves experienced, the deaths met, and the myriad strange and wonderful times encountered by the family Berry. Hoteliers, pet-bear owners, friends of Freud (the animal trainer and vaudevillian, that is), and playthings of mad fate, they “dream on” in a funny, sad, outrageous, and moving novel by the remarkable author of A Prayer for Owen Meany and Last Night in Twisted River.

The bestselling novel by Irvine Welsh that provided the inspiration for Danny Boyle’s hit film Choose us. Choose life. Choose mortgage payments; choose washing machines; choose cars; choose sitting oan a couch watching mind-numbing and spirit-crushing game shows, stuffing fuckin junk food intae yir mooth. Choose rotting away, pishing and shiteing yersel in a home, a total fuckin embarrassment tae the selfish, fucked-up brats ye've produced. Choose life.

Patrick Bateman is twenty-six and he works on Wall Street, he is handsome, sophisticated, charming and intelligent. He is also a psychopath. Taking us to head-on collision with America's greatest dream—and its worst nightmare—American Psycho is bleak, bitter, black comedy about a world we all recognise but do not wish to confront.

Set in Los Angeles in the early 1980's, this coolly mesmerizing novel is a raw, powerful portrait of a lost generation who have experienced sex, drugs, and disaffection at too early an age, in a world shaped by casual nihilism, passivity, and too much money a place devoid of feeling or hope.Clay comes home for Christmas vacation from his Eastern college and re-enters a landscape of limitless privilege and absolute moral entropy, where everyone drives Porches, dines at Spago, and snorts mountains of cocaine. He tries to renew feelings for his girlfriend, Blair, and for his best friend from high school, Julian, who is careering into hustling and heroin. Clay's holiday turns into a dizzying spiral of desperation that takes him through the relentless parties in glitzy mansions, seedy bars, and underground rock clubs and also into the seamy world of L.A. after dark.

Why?Many years from now, historians will look back on this story and wonder why it was so important. And believe me, my friends, important it was. Today, most thrillers and police procedurals gets measured against it.For this review, I will refer to TSOTL as the story, because I'm going to talk about the book, movie, facts, fiction and some of my own opinions.TSOTL was the second Dr. Hannibal Lector story. It was also the second movie adaptation - wait just a damn moment, you might be saying to me, Red Dragon was the first book but it was made after the TSOTL movie was so successful...Correct.However, there was an attempt at a screen adaptation of Red Dragon a few years before TSOTL, called MANHUNTER. It was directed by Michael Mann. To the best of my knowledge, it was a flop at the box office.There are a few things TSOTL had going for it that counted in its favor. By all means, Thomas Harris is a brilliant writer - if you've read any of the books you will know this. But most movie freaks and geeks will agree with me that the story is probably one of the best adaptations from book to screen ever.Then you look at the cast - Jody Foster managed to play a vulnerable yet strong female (IMPORTANT) lead. You know she is intelligent, yet she knows that she has no chance against the superior intellect of Dr. Hannibal Lector. In comes Anthony Hopkins, whose portrayal of the psychopathic genius is so convincing, it catapults him to one of the biggest super villains of all time, yet he is so charming that the audience can't help but like him.And, of course, Buffalo Bill is played by Ted Levine, who is utterly convincing, even if you've seen him as the cop in MONK.With a strong cast and story, this movie became an unlikely contender at the Academy Awards. And they won a few!Right, lets take a step back, to the research phase of this story.Thomas Harris, in the early 80's, were doing research and was fortunate enough to get involved with criminal profiling, which at that time had been an unproven and highly speculative science. It was during the time when they were on the trail of one Ted Bundy. If you know a bit about this famous serial killer, you will probably know that he used to fake injuries by wearing a cast and asking victims for their help -  Do you remember how Buffalo Bill got that girl in the back of the van? And while Bundy was incarcerated on death row, he was willing to help the police do a profile on another serial killer of the time, The Green River Killer. I believe Bundy told them not to remove a body when they discover it, because the killer will go back to his treasure - something that was later confirmed to have happened.  Remember that agent Sterling asked Dr. Lector for his help? And then there was the killer Ed Gein, many decades before, who robbed graves and ultimately killed people to make himself a female skin, which was apparently hard to sow without tearing.  Need I explain this one? The fact of the matter is, while some things may have seemed preposterous to us in the early eighties, like they could only happen in the movies, there were some truly messed up people out there who were doing some truly messed up things - wow, it's been a while since I've kept a sentence PG like that...I will accept your applause humbly.Also, there was and, unfortunately, still are some stereo types about women in the FBI. Harris took the opportunity to make a statement, maybe very subtly, but still very important, about power vs. emotion. At no time does this story feel like a Hollywood blockbuster, where the star is cocky and always has a way out of a sticky situation, where it's all guns and fire and explosions, etc. No, this story was meant to cut close to home, to show the possibilities, for we are all vulnerable in this world. Agent Clarice is scared, she fears for her life, she doesn't know if she will survive, but she fights the big, bad (Goliath) killer. And she wins.This story is also important from a psychological point of view. Whatever your feelings about profiling may be, they have discovered so much and found impossible connections through their research, and we will never know how many lives it has saved. It's a kind of Paying-it-forward thing: By doing what they do, they prevent things that may have been inevitable in a different world.I once saw something (I can't remember exactly where) about some research they were doing on inmates. They took brain scans of a number of them, and noted that those who were certified as psychopathic, had an underdeveloped area in a certain part of their brains. If I can remember correctly, it had something to do with the mother producing too much serotonin during pregnancy, or some such scientific thing.How is this helpful, you may ask?Well, this is my personal opinion, so if it offends you, stop reading:Casey Anthony...Is she a psychopath who got away with murder?Yes, when I look at the facts of the case, and the things her attorney's did to get her free, I'm sickened to think the jurors couldn't believe a mother would do that to her child. Nobody LIKES to believe it, but I wish I could have seen a brain scan of her compared to those other psychopaths. I wish there was a psychologist who could have explained it to them.But enough about that.This book is, was and always will be important, because it brought certain realities home to the world we find ourselves in.If you haven't read it - but managed to get through this long review - what's the matter with you?But I am not trying to convince anybody of my point of view, so feel free to disagree.

On an entirely normal, beautiful fall day in Chester’s Mill, Maine, the town is inexplicably and suddenly sealed off from the rest of the world by an invisible force field. Planes crash into it and fall from the sky in flaming wreckage, a gardener’s hand is severed as “the dome” comes down on it, people running errands in the neighboring town are divided from their families, and cars explode on impact. No one can fathom what this barrier is, where it came from, and when—or if—it will go away.Dale Barbara, Iraq vet and now a short-order cook, finds himself teamed with a few intrepid citizens—town newspaper owner Julia Shumway, a physician’s assistant at the hospital, a selectwoman, and three brave kids. Against them stands Big Jim Rennie, a politician who will stop at nothing—even murder—to hold the reins of power, and his son, who is keeping a horrible secret in a dark pantry. But their main adversary is the Dome itself. Because time isn’t just short. It’s running out.source: stephenking.com

"I believe there is another man inside every man, a stranger..." writes Wilfred Leland James in the early pages of the riveting confession that makes up "1922." the first in this pitch-black quartet of mesmerizing tales from Stephen King. For James, that stranger is awakened when his wife, Arlette, proposes selling off the family homestead and moving to Omaha, setting in motion a gruesome train of murder and madness. In "Big Driver," a cozy-mystery writer named Tess encounters the stranger along a back road in Massachusetts when she takes a shortcut home after a book-club engagement. Violated and left for dead, Tess plots a revenge that will bring her face-to-face with another stranger: the one inside herself. "Fair Extension," the shortest of these tales, is perhaps the nastiest and certainly the funniest. Making a deal with the devil not only saves Dave Streeter from a fatal cancer but provides rich recompense for a lifetime of resentment. When her husband of more than twenty years is away on one of his business trips, Darcy Anderson looks for batteries in the garage. Her toe knocks up against a box under a worktable and she discovers the stranger inside her husband. It's a horrifying discovery, rendered with bristling intensity, and it definitely ends a good marriage. Like Different Seasons and Four Past Midnight, which generated such enduring films as The Shawshank Redemption and Stand By Me, Full Dark, No Stars proves Stephen King a master of the long story form.(front flap)Contains:1922Big DriverA Fair ExtensionA Good Marriage

An intimate portrait of two men who cherish the slim bond between them and the dream they share in a world marred by petty tyranny, misunderstanding, jealousy, and callousness. Clinging to each other in their loneliness and alienation, George and his simple-minded friend Lennie dream, as drifters will, of a place to call their own—a couple of acres and a few pigs, chickens, and rabbits back in Hill Country where land is cheap. But after they come to work on a ranch in the fertile Salinas Valley of California, their hopes, like "the best laid schemes o' mice an' men," begin to go awry.Of Mice and Men also represents an experiment in form, as Steinbeck described his work, "a kind of playable novel, written in novel form but so scened and set that it can be played as it stands." A rarity in American letters, it achieved remarkable success as a novel, a Broadway play, and three acclaimed films. Steinbeck's tale of commitment, loneliness, hope, and loss remains one of America's most widely read and beloved novels.--front flap

When it first appeared, one volume per month, Stephen King's THE GREEN MILE was an unprecedented publishing triumph: all six volumes ended up on the New York Times bestseller lists—simultaneously—and delighted millions of fans the world over.Welcome to Cold Mountain Penitentiary, home to the Depression-worn men of E Block. Convicted killers all, each awaits his turn to walk the Green Mile, keeping a date with "Old Sparky," Cold Mountain's electric chair. Prison guard Paul Edgecombe has seen his share of oddities in his years working the Mile. But he's never seen anyone like John Coffey, a man with the body of a giant and the mind of a child, condemned for a crime terrifying in its violence and shocking in its depravity. In this place of ultimate retribution, Edgecombe is about to discover the terrible, wondrous truth about Coffey, a truth that will challenge his most cherished beliefes... and yours.

This is the way the world ends: with a nanosecond of computer error in a Defense Department laboratory and a million casual contacts that form the links in a chain letter of death. And here is the bleak new world of the day after: a world stripped of its institutions and emptied of 99 percent of its people. A world in which a handful of panicky survivors choose sides -- or are chosen.

The road in front of Dr. Louis Creed's rural Maine home frequently claims the lives of neighborhood pets. Louis has recently moved from Chicago to Ludlow with his wife Rachel, their children and pet cat. Near their house, local children have created a cemetery for the dogs and cats killed by the steady stream of transports on the busy highway. Deeper in the woods lies another graveyard, an ancient Indian burial ground whose sinister properties Louis discovers when the family cat is killed.source: stephenking.com

'Misery' is a gruesome story of torture with blood, guts, and a psychopath. It's a well told tale, the characters are well developed and the fact that there are only two of them never gets boring. It's a real page turner, in fact I finished it tonight after getting off the subway on the platform before I walked home. But, this book is more than just a thriller, just like King is more than just a pulp writer.I read an article by the ever optimistic and cheerful Harold Bloom in college about how dismayed he was that young people like Stephen King so much. All the literature crtics I've read hate King and it seems like it's just because people actually enjoy reading his work. Yeah, Bloom, I said 'work' just like I would about Tolstoy's 'work' because Stephen King as damned hard worker. Think of all the books he's churned out over the last few decades. I'd like to see Harold Bloom show enough imagination to write fiction instead of just criticizing it all the time.I'm actually new to Stephen King's fiction. I've read a few of the essays and articles he's written and a really great graduation speech he gave at UMaine awhile ago in which he extolled the virtues of our mutual home state, but this is only my 3rd novel by him. I like this guy, and I know why too. It's not just because he makes me scream and I have a hard time putting his books down, it's because King loves writing. He has a real and self-aware relationship with what it means to be a writer. He knows he's not Tolstoy or Faulkner, he doesn't try to write that way. He knows how to tell a good god damned story and he has a passion for it. I appreciate his self awareness as a writer and the fact that he ackowledges how difficult the whole process is while not making us feel like he's somehow superior because he's figured out how to do it.In 'Misery' it's almost like we get to watch King write this story. He doesn't just set us up for a crazy story and watch us discover things about his characters, it feels like he actually comes with us and makes the discoveries at the same time we do. That's what makes a good storyteller. And I don't give a damn if Bloom likes him or not.

Literary critics can moan all they want about Stephen King's "penny dreadful" oeuvre, but his mastery at the craft of storytelling is indisputable. King writes his novels like a seduction, the story unfolding delicately and deliberately. As any Stephen King fan knows, his coy expository chapters often take up the first hundred pages or more. In Cell, however, the reader is brutally dragged into the main action--unspeakable, senseless violence--within the first seven pages. Cell is by far King's most brutal, transgressive work to date.Many have compared Cell to his earlier epic, The Stand. On the surface, the novels are quite similar: an apocolyptic event threatens the very existence of the human race as a band of survivors struggle to come to terms with the carnage and avert further catastrophe. Cell, however, is the far more mature novel of the pair. The Stand was, in many ways, a novel by an idealistic youth, whereas Cell is filled with the trenchant and world-weary observations of an adult. The subtext is laden with so much chillingly apt futurist rhetoric that it is as though the author had Marshall McLuhan whispering plot devices and metaphors into his ear as he labored over his typewriter. King manages to explore several of the major sociocultural conflicts of our time, most persuasively the end of the era of individualism and the rise of collectivism, here symptomatic of heavy reliance on technology. Whereas many dystopian novels are almost comically blunt when expounding upon the dangers of collectivism, King's horrific plot and action give his metaphors a sort of subtlety that renders his subtext much more graceful and easier to stomach than the work of Ayn Rand.As the epigraphs indicate, it is also a meditation on the intrinsic violence of the human race. King clearly feels as though the world is out of control and wants to find out why. His preferred genre, horror, is an excellent one with which to consider the depravaties of modern life. The Stand was a novel that, if not upbeat, was at least optimistic--a reflection of the times in which it was written. There was also violence, but it had its own biblical logic, if violence can ever be called logical. In Cell, the violence is senseless, oppressive, and omnipresent. There seems to be little promise for a better world... at least not one inhabited by human beings.Many reviewers took issue with the unresolved ending. Considering the subtext of the novel, however, the reader will find that the ending's abruptness actually informs the sense that Cell, besides being an excellent horror yarn, is a meticulously painted portrait of the horrors of global culture. The many crises of our time are still developing and mutating. The end is not yet, it seems, in sight.

Once upon a time, in the haunted city of Derry, four boys stood together and did a brave thing. Certainly a good thing, perhaps even a great thing. Something that changed them in ways they could never begin to understand.Twenty-five years later, the boys are now men with separate lives and separate troubles. But the ties endure. Each hunting season the foursome reunite in the woods of Maine. This year, a stranger stumbles into their camp, disoriented, mumbling something about lights in the sky. His incoherent ravings prove to be disturbingly prescient. Before long, these men will be plunged into a horrifying struggle with a creature from another world. Their only chance of survival is locked in their shared past - and in the Dreamcatcher.Stephen King's first full-length novel since Bag of Bones is, more than anything, a story of how men remember, and how they find their courage. Not since The Stand has King crafted a story of such astonishing range—and never before has he contended so frankly with the heart of darkness.

This needs to be said in capital letters so that it will grab people's attention and hopefully stop them from rating this book what they would have given King's novella:THIS BOOK IS NOT KING'S NOVELLA (RITA HAYWORTH AND SHAWSHANK REDEMPTION), WHICH THE MOVIE WAS BASED ON. IT IS A CRITICAL ANALYSIS OF THE FILM WRITTEN BY MARK KERMODE AND RELEASED BY BFI MODERN CLASSICS.With that said, on with my actual review. This is well written, in terms of actual writing style and readability, but ultimately lacking. Mark Kermode basically goes through the movie from beginning to end and attempts to translate a lot of the scenes and actions into symbols and themes. A lot of the conclusions he draws seem like a bit of a stretch to me. For example, Kermode writes, "Although Darabont has subsequently informed me that no such parallels were intended, it is possible (should one so wish) to find powerful echoes of the Last Supper in [the roof-tarring scene:]...a head-count of the inmates depicted in this sequence clearly reveals thirteen prisoners on the roof...More strikingly still, both King's source and Darabont's adaptation make it clear that, having provided the blessed beer, 'Only Andy didn't drink', a detail which fits neatly with the biblical descriptions of Jesus blessing, giving, but crucially not partaking of the wine..." (32). It seems to me that these two, what more likely are coincidences, don't provide enough substantial evidence to open up this scene to any necessary parallels between it and the last supper. I understand that Dufresne (Tim Robbins) is, I guess in some way -- maybe time and effort -- sacrificing himself to do the paperwork to get the beers that he hands out. And that because of his sacrifice they are all able to celebrate and enjoy the reward together, ultimately giving hope that there is life amongst the death of the prison. And that that event leads to the beginning of him being seen as a sort of legend that lives on through the passing of his story from one person to another (or as Kermode would say, from one disciple to another). However, when you study this scene in terms of the bigger-picture impact it has on the course of the film in comparison to what the last supper meant, and how it impacted the bigger-picture ministry of Jesus Christ, the parallels break down (and to be noted, some of the parallels that I listed above Kermode doesn't even go into.) Excuse me for getting theological, but some clarification on the first communion need to be made. The last supper was about Jesus Christ breaking bread and taking wine as a symbol for the giving over of His body and blood (meaning his death on the cross) for the disciples, and essentially the world, and the promise that we too would have to go to this cross if we were to believe in Him. As Christ's blood bound together the disciples in that moment, so would Christ's blood, shed through the giving of his follower's lives by way of the cross, bind together the Church in the future. None of this is evident in the roof-tarring scene. Andy's sacrifice is merely a way through which he can work the system in order for him and a couple guys to feel more human again. His sacrifice doesn't provide the way through which the other disciples will learn to live: other prisoners don't start trying to subvert the system and undermine authority because of him. And also, Kermode's second claim that Jesus didn't drink from the cup at first communion isn't as clearly stated in the gospels as he would have you believe. A lot of the gospels give slightly different accounts of this event, and even the gospels that he cites, Matthew and Mark, don't clearly state that Jesus didn't drink from the cup. Jesus's language about not drinking from the wine again until his second coming, leads me to believe that he drank from the cup the first time. There is the possibility that he drank wine during the meal, and then didn't drink wine during communion, being that some gospels list him saying he passed the cup after the meal, but there is no way of really telling. At best, we could say that it isn't conclusive whether he did or didn't. I don't mean to get overly religious, but I wanted to give an in-depth critique of one of his claims to show what I meant when I said many of his claims are a stretch. Much of the book gives analysis in the same way: concentrating on very specific, seemingly correct, but ultimately superficial connections between the movie and the Christian worldview. Kermode never really connects the dots between a lot of his claims which leaves the reader with great things to throw out at someone if your citing off references as to what this movie is "really" about, but leaves them paralyzed to offer any serious, well-thought out and congruent arguments. It's as if Kermode didn't have an all encompassing thesis for the book, but instead decided to analyze each scene individually and make connections where he could. If one knows a little something of the bible and what's in it, it becomes more obvious that Kermode's argument is lacking. I don't want to act like religious parallels cannot be made. I do believe there are some religious themes in the movie (an innocent man, condemned for a crime he didn't commit, is placed into a world he never belonged in, and helps the other guilty prisoners, through what he does and how he lives, see that humanity and another life are still possible if we learn to subvert the system and always continue to have hope.) However, Kermode doesn't do a great job of presenting these themes. Also, I don't want to act like there is nothing I took from this book (I did give it three stars, not one). Kermode gives an interesting interpretation having to do with the church of cinema and how Dufresne escapes through that and also gives a lot of little interesting tidbits about the movie along the way. Overall, the book is a short read, and a pretty easy one at that, and even with it's problems it might be worth reading just to get thinking more critically about the movie. However, if you're looking for a thorough and insightful analysis of this movie, especially in terms of why it worked, you might have to look elsewhere.

After moving to a new town, two brothers discover that the area is a haven for vampires.

1987 film by Joel Schumacher, Richard Donner

A criminal pleads insanity and is admitted to a mental institution, where he rebels against the oppressive nurse and rallies up the scared patients.

1975 drama film based on the novel by Ken Kesey

A sexually frustrated suburban father has a mid-life crisis after becoming infatuated with his daughter's best friend.

1999 American drama film directed by Sam Mendes

A sole survivor tells of the twisty events leading up to a horrific gun battle on a boat, which began when five criminals met at a seemingly random police lineup.

1995 German-American neo-noir crime thriller film directed by Bryan Singer

Ben Sanderson, a Hollywood screenwriter who lost everything because of his alcoholism, arrives in Las Vegas to drink himself to death. There, he meets and forms an uneasy friendship and non-interference pact with prostitute Sera.

In the future, a sadistic gang leader is imprisoned and volunteers for a conduct-aversion experiment, but it doesn't go as planned.

1971 dystopian crime film directed by Stanley Kubrick

Based on the life of Aileen Wuornos, a Daytona Beach prostitute who became a serial killer.

A Chicago teenager is looking for fun at home while his parents are away, but the situation quickly gets out of hand.

In 1997, when the U.S. president crashes into Manhattan, now a giant maximum security prison, a convicted bank robber is sent in to rescue him.

Snake Plissken is once again called in by the United States government to recover a potential doomsday device from Los Angeles, now an autonomous island where undesirables are deported.

The Griswold family's plans for a big family Christmas predictably turn into a big disaster.

1989 US family comedy film directed by Jeremiah S. Chechik

The Griswold family's cross-country drive to the Walley World theme park proves to be much more arduous than they ever anticipated.

1983 US road comedy film directed by Harold Ramis

A nun, while comforting a convicted killer on death row, empathizes with both the killer and his victim's families.

A phobic con artist and his protégé are on the verge of pulling off a lucrative swindle when the former's teenage daughter arrives unexpectedly.

2003 British-American drama film by Ridley Scott

Los Angeles citizens with vastly separate lives collide in interweaving stories of race, loss and redemption.

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</p><p>It (also known as Stephen King's It) is a 1990 American horror miniseries directed by Tommy Lee Wallace and adapted by Lawrence D. Cohen from Stephen King's 1986 novel of the same name. The story revolves around a devious, sadistic, predatory monster which has the ability to transform itself into its prey's worst fears, allowing it to exploit the phobias of its victims. It mostly takes the form of a vicious but darkly comical clown called Pennywise. The protagonists are The Lucky Seven, or The Losers Club, a group of outcast kids who discover Pennywise and vow to kill him by any means necessary. The series takes place over two different time periods, the first when the Losers first confront Pennywise as children in 1960, and the second when they return as adults in 1990 to defeat him a second time after he resurfaces.
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A high school teacher meets his match in an over-achieving student politician.

After tragedy strikes, a grieving father discovers an ancient burial ground behind his home with the power to raise the dead.

A conservative judge is appointed by the President to spearhead America's escalating war against drugs, only to discover that his teenage daughter is a crack addict. Two DEA agents protect an informant. A jailed drug baron's wife att

2000 American crime drama film directed by Steven Soderbergh

A rookie cop spends his first day as a Los Angeles narcotics officer with a rogue detective who isn't what he appears to be.

American singer-songwriter, guitarist, producer, actress, and poet

An antisocial maverick doctor who specializes in diagnostic medicine does whatever it takes to solve puzzling cases that come his way using his crack team of doctors and his wits.

A famous "psychic" outs himself as a fake, and starts working as a consultant for the California Bureau of Investigation so he can find "Red John", the madman who killed his wife and daughter.

American crime television series (2008-2015)

A hedonistic jingle writer's free-wheeling life comes to an abrupt halt when his brother and 10-year-old nephew move into his beach-front house.

An anthology series centering on different characters and locations, including a house with a murderous past, an insane asylum, a witch coven, a freak show circus, a haunted hotel, a possessed farmhouse, a cult, the apocalypse, and a

American anthology horror television series

After a supernatural event at his church, a preacher enlists the help of a vampire and his ex to find God.

A mysterious viral outbreak with hallmarks of an ancient and evil strain of vampirism ravages the city of New York.

After a night of partying with a woman he picked up, a man wakes up to find her stabbed to death and is charged with her murder.

American crime drama television miniseries

Ordinary people find themselves in extraordinarily astounding situations, which they each try to solve in a remarkable manner.

Tales of horror based on the gruesome E.C. comic books of the 1950s presented by the legendary Crypt Keeper, a sinister ghoul obsessed with gallows humor and horrific puns.

American horror anthology television series

A mockumentary on a group of typical office workers, where the workday consists of ego clashes, inappropriate behavior, and tedium.

An invisible and mysterious force field descends upon a small actual town of Chester's Mill, Maine, USA, trapping residents inside, cut off from the rest of civilization. The trapped townspeople must discover the secrets and purpose 

American science-fiction drama television series

The TV series of the Canadian sketch comedy troupe that, more often than not, puts bizarre, unique, and insane twists in their skits.

When a suburban mother turns to dealing marijuana in order to maintain her privileged lifestyle after her husband dies, she finds out just how addicted her entire neighborhood already is.

2005-2012 American dark comedy-drama television series

A series chronicling the daily activities of an unusual prison facility and its criminal inhabitants.

The crazy and sometimes surreal comedic adventures of four very different students in Thatcher's Britain.

A New York mobster goes into hiding in rural Lillehammer in Norway after testifying against his former associates.

Bob Belcher runs his dream restaurant with his wife and three children as their last hope of holding the family together.

Animated MTV series about two teenage heavy-metal music fans who occasionally do idiotic things because they're bored. For them, everything is "cool" or "sucks."

American adult animated sitcom created by Mike Judge

In a wacky Rhode Island town, a dysfunctional family strive to cope with everyday life as they are thrown from one crazy scenario to another.

The random escapades of Stan Smith, a conservative C.I.A. Agent dealing with family life, and keeping America safe, all in the most absurd way possible.

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