I suspect I’m not the only one who, upon the death of Pulitzer Prize-winning film critic Roger Ebert in 2013, bought his 2006 collection, Awake in the Dark, thinking it to be the definitive summation of his prolific and distinguished career. The University of Chicago Press has proven me wrong, by issuing Awake in the Dark: The Best of Roger Ebert — Second Edition. Roughly half of the original volume was taken up by his best-of-year reviews from 1967 (Bonnie and Clyde) to 2005 (uh, Crash); this newer edition picks up where that left off, from 2006 (Pan’s Labyrinth) to 2012 (um, Argo). While his choices could be suspect, he nonetheless demonstrated an affinity for making his case, and making it sing; most notable — and representative of his power — are his now-famous support for the 1994 documentary Hoop Dreams and the ’98 sci-fi mind-bender Dark City. The book also features sections on docs, foreign pics and underseen gems, as well as assorted essays, including a Pauline Kael tribute, a list of the century’s 10 most influential movies and a round-robin series from the early ’90s on the state of film criticism, in which Ebert gets into it with peers Richard Corliss and Andrew Sarris. This book is as essential as the man is missed.

Former Nevada Film Office deputy director Robin Holabird draws upon nearly a quarter-century of government work scouting locations for motion pictures and television shows in the Silver State, for her memoir on those glitzy, glamorous years, Elvis, Marilyn, and the Space Aliens: Icons on Screen in Nevada. With such big movies as Independence Day, Ocean’s 11, Showgirls, Smokin’ Aces, Jane Austen’s Mafia and Casino on the table, one longs for a VIP tour through the making of these flicks, but in that department, the author woefully rolls snake eyes. Readers are lucky to get a quote relayed through her here and there, but most of the content is strictly a rundown of Such-and-Such Project shooting Such-and-Such Scene at Such-and-Such scenic spot. At least Holabird keeps the University of Nevada Press paperback moving at a whirlwind, not to mention spanning the gamut of prestige, from the long-running TV smash CSI: Crime Scene Investigation to the chintzy Stella Stevens project Las Vegas Lady. All in all, though, a missed opportunity.

Attention, cult cinemaniacs who like to sniff out zines catering to their peculiar tastes: Hunt down Woof! Dog Eat Cinema Magazine. The damaged brainchild of Hans Minkes, the Netherlands-based publication combines enthusiastic movie reviews with top-notch illustrations, then shoves the oft-ribald results into the size of your standard comic book. Like a Cinema Sewer from the other half of the world, contents lean into the lascivious, yet are wonderfully varied; among the three issues I’ve read (#2-#4), spotlighted titles include Lady Iron Monkey, Pete Walker’s The Comeback, the infamous atrocity pic Men Behind the Sun, a Django porn parody and Albert Band’s Ghoulies II, the latter as part of each issue’s “Whatever Lola Wants,” in which Minkes’ young daughter randomly selects a VHS tape for Dad to cover. Another recurring feature is Hans Van Den Broeck’s “Fur on Film,” with each installment exploring a werewolf subgenre, whether Asian, X-rated or good ol’ Andy Milligan. From my POV, Woof’s two best articles savaged the films of Draculina publisher Hugh Gallagher (Goregasm, et al.) and the post-apocalyptic roller-skate movie, of which there are more than you think (mostly “thanks” to Donald G. Jackson). Interested pups should email woofmagazine at hotmail dot com for ordering deets!

Presumably tied to this summer’s highly anticipated release of War for the Planet of the Apes, Abrams ComicsArts continues its exquisitely packaged series of Topps trading-card retrospectives with Planet of the Apes: The Original Topps Trading Card Series. The hardback devotes a full page to each card’s front and back, numerically going through the entire stack — not just the one based on the 1968 classic film, but also the short-lived TV show and the Tim Burton remake (and its numerous limited-edition cards), with author Gary Gerani contributing commentary as we go. (His introductory essay is fascinating; for example, Charlton Heston initially balked at being pictured on those damn, dirty bubble-gum cards.) As with Abrams’ other Topps books, a sealed pack of cards is glued onto the inside back cover. For Apes fans — and especially collectors of the franchise’s memorabilia — it’s a madhouse of pop-culture preservation! —Rod Lott

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A word of warning to those interested in the book ’80s Action Movies on the Cheap: 284 Low Budget, High Impact Pictures: “Cheap” is an adjective not used carelessly, so expect neither Stallone nor Schwarzenegger. Know that there is nary a Batman or Bond, and that Van Damme is more or less persona non grata. In fact, Mr. American Ninja himself, Michael Dudikoff, is as mainstream as it gets. This is the kind of book in which Reb Brown claims 14 pages, which is nothing compared to Godfrey Ho’s 36 — and if you don’t know who they are, this McFarland & Company paperback release is not for you. I happen to love it like a child.

One-half of the team behind Bleeding Skull!: A 1980s Trash-Horror Odyssey, Daniel R. Budnik has put his life on the line to suffer through nearly 300 ass-kickin’ flicks of the Reagan era, some of which actually played theatrically from coast to coast. Others, not so much, but they sure-as-shit clogged the shelves of Bob’s Video Haven (or whatever the mom-and-pop VHS rental outlet was called in your neck of suburbia). Budnik’s world is one filled with Caucasian ninjas and bikini babes, of Terminator rip-offs and Conan wannabes, of kill squads and lone wolves, of lost empires and the occasional Miami connection.

Grouped by year of release rather than letter of the alphabet, each movie covered is done so in Budnik’s no-nonsense, subject/predicate-style — short on flourish, but high in chuckles. To, uh, wit:
• On misleading titles: “Jungle Warriors is not a very good film. But it does have jungle in it.”
• On the Rambo-esque The Last Mercenary: “So they begin throwing an African child into the air and shooting him. … Who came up with this idea? And is he in prison?”
• On Andy Sidaris’ Malibu Express: “There are more beautiful women in this movie than can be reasonably counted.”
• On the Erik Estrada vehicle Light Blast: “Estrada acquits himself well and looks great in his underpants holding a turkey.”
• On Penthouse Pet turned Silk 2 star Monique Gabrielle: “Ms. Gabrielle is gorgeous and sexy as hell. But she’s as much of an action film star as Selma Diamond.”

I found that last line in particular so rib-tickling that I forgive him for mauling Yellow Hair and the Fortress of Gold director Matt Cimber’s last name as “Climber” across all five mentions (six if you include the index).

From The Great Skycopter Rescue or Robo Vampire, a lot of turds float in Budnik’s bowl of a book, front-to-back insanely entertaining. I can’t really complain that it is not a complete guide — missing are such notable bags of magnetic-tape trash as Killzone, Treasure of the Amazon, Laser Mission and Invaders of the Lost Gold; instead, I only cry out for a sequel. 9 Deaths of the Ninja is screaming your name, Danny Boy. —Rod Lott

Get it at Amazon.