With movies, as with potential mates, everyone has a type toward which he or she instinctively gravitates. For me, it’s heists or spiders. For Thomas Kent Miller, it’s that angry red planet — a lifelong fascination that culminates in the publication of the book Mars in the Movies: A History.

Released by McFarland & Company, the trade paperback surveys nearly 100 Mars flicks, roughly from the 1910 Thomas Edison silent short A Trip to Mars to 2015’s blockbuster The Martian. With the latter making a mint and taking seven Oscar nominations, you’d think Miller would find Ridley Scott’s populist smash to be a source of unending joy. Instead, he had “zero emotional response to the film. When I should have felt elated, I felt nothing.” And that call-’em-as-I-see-’em approach is all part of the book’s hours of fun.

Miller discusses each movie (and the occasional television miniseries), dividing them up among several themed sections: everything pre-Destination Moon, voyages to Mars, invasions from Mars, life on Mars, War of the Worlds adaptations and sequels, comedies, spoofs and, finally, the handful of post-Martian projects. The aforementioned Destination Moon, a 1950 George Pal production, earns its own chapter because the author places it on a pedestal of influence, arguing that only Star Wars and 2001: A Space Odyssey have affected and altered the science-fiction genre as much.

Whether you share that opinion, Miller makes quite the case for it. Throughout the book, readers will notice how he holds these movies accountable for their science. This makes sense since he used to work for NASA, which sometimes, he fully acknowledges, puts him at odds with the mainstream view — most notably in the cases of The Martian and 2005’s War of the Worlds, the Steven Spielberg/Tom Cruise pairing he finds to be such “an onslaught of negative energy” that he is “astonished” it found such critical and commercial favor. Again, reading him getting so worked up only contributes to the enjoyment.

And Mars in the Movies, despite the sourness I’ve highlighted, is enjoyable — even greatly so. I don’t wish to give the impression that reading the book is akin to watching the old man across the street screaming at kids to get off his lawn. From the Flash Gordon serials to Disney’s epic John Carter flop, from the beloved to the obscure, Miller holds great love for the genre and many of the films featured. If there was not already a book on this subject, there needed to be one. Miller has written it — and the definitive one at that … even if his take on 1962’s Battle Beyond the Sun may be the only I’ve ever read that failed to mention how Francis Ford Coppola’s inserted monsters look like a penis and a vagina. —Rod Lott

Get it at Amazon.

Now adults, the children of the 1980s clearly are nostalgic, judging from this past fall’s glut of books on that era’s teen movie. Hadley Freeman’s Life Moves Pretty Fast came first, followed closely by Kevin Smokler’s travel-leaning Brat Pack America. Now, journalist Jason Diamond joins the fray with Searching for John Hughes: Or Everything I Thought I Needed to Know About Life I Learned from Watching ’80s Movies, but stands out as unique because it’s a memoir. Hoo-boy, is it ever. As a Chicagoan, Diamond felt a particular kinship to Hughes’ movies — Sixteen Candles; Ferris Bueller’s Day Off; Planes, Trains & Automobiles; Home Alone, et al. — which tended to take place there, albeit in the fictional suburbia of Shermer, so the miserable barista longing to be a professional writer embarked on a biography of the iconic filmmaker. Instead, as we witness, the project morphed into this memoir of the author’s own terrible childhood and arguably even worse teenage years, during which Hughes’ CV offered a recurring temporary escape. The end result is raw, real, gut-wrenching and, like Hughes’ work, worthy of resonating with an entire generation. Oh, if only they read more than 140 characters!

With Applause’s paperback release of Film Noir Compendium: Key Selections from the Film Noir Reader Series, newcomers to the dynamic duo of cinematic historians Alain Silver and James Ursini can get a taste of the goods without having to wonder which prior volume to purchase or whether to buy them all. (You may find yourself doing the latter if you enjoy this lovingly oversized presentation, overflowing with hundreds of stills.) Compendium culls some 30 articles from 20 years worth of contents — all with an academic bent, but not to a point of inaccessibility. Standouts include Ursini’s visual breakdown of the Mike Hammer classic Kiss Me Deadly; Todd Ericsson’s 1990 examination of noir’s then-resurrection as a genre (e.g., Dennis Hopper’s The Hot Spot, Michael Mann’s Thief and William Friedkin’s To Live and Die in L.A.); and Paul Schrader’s well-informed “notes on film noir,” which is the equivalent of a master class — no surprise to readers of the Taxi Driver scribe’s Film Comment pieces, past or present. The book’s layout could stand a sharper design, but the words are what really matter here — especially when you have Stephen Farber putting “the bitch goddess” under a microscope.

Which horror films feature the most of Mr. Mephistopheles? Which horror soundtracks are the scariest? Who draws horror comics best? The answers to these and many other superlative-determining questions await in The Thrill of Repulsion: Excursions into Horror Culture. For the Schiffer-pubbed hardcover, Horror News Network contributor William Burns presents nearly two dozen essays on terror-related topics primarily concerning movies, but also not ignoring TV, music and books (comics included). Nearly all of the chapters are presented in the ever-popular list format, each cleverly and consistently going to 13, rather than the standard, ho-hum 10. I was unfamiliar with Burns’ name or work, so I don’t know how much critical credibility he brings to the project, but he obviously is well-versed in cinema that goes bump in the night. I especially enjoyed his countdown of horror films “That Deserve Better,” because his selections prove him right, from The Boy Who Cried Werewolf to the top-slotted The Spider Labyrinth. —Rod Lott

Get them at Amazon.