Editor Reviews:

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Boris Karloff will forever be Frankenstein's Monster, but is that any reason for us to overlook his later great horror film Isle of the Dead (1945)? An Oscar was George Clooney's reward for Syriana (2005), but isn't the underrated war film Three Kings (1999) still his best movie? Woman of the Year (1942) introduced the team of Tracy and Hepburn, yet didn't their later Pat and Mike (1952) resoundingly surpass it? Jeff Bridges has long been one of our best actors, so why didn't anyone take notice of his sleeper Bad Company (1972)? The lasting impact of Psycho (1960) unfairly overshadows Anthony Perkins's great work in the darkly comic thriller Pretty Poison (1968), while Stanley Kubrick's later work keeps his terrific caper The Killing (1956) from attaining classic status. Can you really say you love Audrey Hepburn if you haven't seen her at her most radiant in Stanley Donen's gem Two for the Road (1967)?

Screen Savers: 40 Remarkable Movies Awaiting Rediscovery puts the spotlight on these and other superb yet underappreciated movies spanning the twentieth century. Essential stars and directors are represented here, not for their undisputed marvels but for other equally wonderful films that warrant overdue or renewed recognition: Cover Girl, They Came to Cordura, Portrait of Jennie, The Seventh Cross, The Lusty Men, Hail the Conquering Hero, Rambling Rose, Time after Time, and many others.

Author John DiLeo offers full-bodied appraisals of each of his selections, breezily combining scholarly acumen with a film fanatic's passion. DiLeo utilizes his lively, accessible style and sharp, insightful critical eye, venturing beyond obvious choices and whetting our appetites to see these vital movies. Be they underseen, dismissed, or taken-for-granted in their day, the films in Screen Savers deserve a place of honor in our film heritage.

Rating : - Make Old Movies New Again
I saw Seven Brides for Seven Brothers for the first time after reading about it in John DiLeo's Screen Savers. I would not have bothered to see it had I not first read DiLeo's analysis and insights regarding this underappreciated film. His essay led me to a much fuller understanding of its beauty, craft and surprising depth, making me want to see what I had previously considered an old-fashioned and uninteresting musical. Upon completing each chapter, I find myself scanning the upcoming programming for Turner Classic Movies, hoping they will soon be showing one of DiLeo's selections, so that I can use my new "behind the scenes" information while watching the film. It is clear that the movies the author selects for rediscovery are on a personal list of favorites, they moved or inspired him. But while he clearly loves movies, the tone never sinks to that of a fawning fan. He backs up his choices with detailed analyses and thorough research, convincing the reader of their rightful rank among films that should be reexamined. The joy of this book is that he educates the reader while imparting some of his obvious infatuation and love for his subject. And like any satisfyingly juicy critical discussion, the author allows a dialogue to develop with his reader. You may even find yourself disagreeing with him about a favorite star or director (c'mon, Lana Turner wasn't that untalented) and that is part of the fun. This book has rekindled in this reader a new enthusiasm for older and "gently used" movies. I can't wait for my first viewings of The Man Who Laughs and The Iron Giant.