Tim Hensley’s Ticket Stub is a collection of the cartoonist’s now-defunct zine, but that zine was really pages from his sketchbook. Don’t let that deter you in any way, however, because it has a theme and a point.

The backstory: For 10 years, Hensley worked as a closed-captioning typist for movies and TV shows. In his sketchbook, he would draw random scenes from said programming. Those pages became Ticket Stub the zine, and all eight issues now stand united like conjoined twins in Ticket Stub the book.

For those who love indie comics, oddball ideas or the medium of film — or, better yet, all three — the paperback will bring many a smile, and not just for its charming, wholly appropriate die-cut along the bottom edge. (That had to be an unnecessary expense for Yam Books, especially for such an upstart publisher, but damn, am I glad they sprung for it — a creative decision that just feels right.)

The scenes Hensley illustrates are not iconic; they appear to be chosen as haphazardly (if “chosen” is the correct term) as the films, which range from highbrow to lowbrow, classic to trash, beloved to obscure, Butterfield 8 to Big Momma’s House.

Each is accompanied by a few lines of Hensley’s own contribution. Some double as actual description, such as this bit on Hercules in New York: “A bear costume escapes the zoo and meets their carriage. Hilarity ensues — an Olympian in a taxi, or rather, a chariot, flexes. He kicks the shit out of sailors, drivers, mobsters. He cracks ribs.”

Most, however, read like bad poetry on open-mic night, and in this case, that’s a good thing indeed. Witness his words for The Care Bears Movie: “Bereft of pals, gather a gumshoe, a cigar between the plush pandas, a black widow knit near the wagon wheel and share — the clouds and rainbows mar with crevice. The witch concurs.”

The final issue takes a detour by stringing the panels together into a comic, but with invented dialogue. Why else, where else, would Casper the Friendly Ghost greet a girl with, “I was shot in my crib. Do I give you goose flesh?”

If you’re only familiar with Hensley — as I was — through his retro-teen-comics work à la Wally Gropious, note that this art does not resemble that art. The drawings here — far more fleshed-out than the word “sketchbook” suggests — demonstrate a different skill set and wider range. The witch concurs. —Rod Lott

Buy it at Yam Books.

Somewhere before I’ve stated that I’m not automatically against horror remakes, because without them, we wouldn’t have such modern-day classics as John Carpenter’s The Thing or David Cronenberg’s The Fly. It’s nice to know I’m not alone, now that James Francis Jr. has expanded my thought into an entire book with Remaking Horror: Hollywood’s New Reliance on Scares of Old.

It’s too bad the trade paperback’s cover captures Anne Heche in what appears to mid-salute to the Führer, but Gus Van Sant’s infamous, shot-for-shot redux of Psycho is one of four main examples the author explores. The others are, naturally, Halloween, Friday the 13th and A Nightmare on Elm Street.

In doing so, Francis devotes a chapter to each to explain the differences between the original and the remake, and what worked and what didn’t — mostly according to general consensus, although he freely offers his opinions, which prove more lenient than the average academic.

The real meat of the book is the chapter immediately following, in which he takes the same approach, but shorter, to roughly two dozen more examples, from all the Island of Dr. Moreau movies to 2011’s Fright Night. Consider it the “lightning round” — a lot of fun.

Following are brief Q-and-As with six “industry professionals,” including Evil Dead captain Bruce Campbell and former Fangoria editor Tony Timpone, but the questions are staid and untailored to the subject, leading to mostly curt responses that lend no insight. Skip these and proceed to the “Remake Catalog,” a comprehensive table comparing budgets and grosses (pun not intended).

Francis makes his share of questionable blanket assumptions (“When people hear the name Michael Bay, they are interested to see what he has made …”), dubious statements (“[Rebecca] De Mornay — as fans may remember — came to fame … in the suspense-thriller The Hand That Rocks the Cradle …”) and outright errors (he’s under the impression that the 1973 telepic Don’t Be Afraid of the Dark is a foreign film) sprinkled throughout the text, but not enough to kill the overall buzz. —Rod Lott

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Man, oh, man, how I truly wanted to love — or even just like — Best Movie Scenes, because I find film-related lists a blast to read. One of my favorite parts of my recent Christmas-to-New-Year’s vacation was poring over all 288 small-print pages of 10 Bad Dates with De Niro: A Book of Alternative Movie Lists, an impulse-clearance purchase that turned out to yield rewards of pleasure exponentially greater than my meager $2 investment.

Needless to say, I was thirsty for more. Yet Sanford Levine’s paperback round-up is a bad date in itself, starting with a wholly unnecessary framing concept that simply does not make sense.

Barring a reprint of Levine’s two-page introduction, my words can’t explain adequately the bizarro idea the author puts forth: a strange scenario in which he and his friends are members of über-niche organizations like the Best Neck Brace Scenes Club, complete with regular meetings and voting and all.

Yeah, I don’t get it, either.

But that doesn’t stop him from carrying it out through the entirety of the book, organized alphabetically by subject, including such topics as “Sagging Shoulders” and “Name Mispronunciation.” (Admit it: You’re dying to know what he’ll name as cinema’s all-time finest “Fluttering Drapes” scenes, right? Right? Well, it’s here.)

Under each topic are several unnumbered examples, written in a mumble-mouthed manner that stands squarely between baffling and rambling. As an example, read this excerpt about 1979’s rom-com Starting Over, a Burt Reynolds/Jill Clayburgh pairing mentioned in the “False Teeth” chapter:

“While false teeth fans prefer to see an actual denture, they are not averse to scenes in which false teeth are merely mentioned, as long as they are mentioned in a favorable light. … For the record, marriage proposal fans: did put in a claim for this scene, but it was quickly dropped when false teeth fans, possessive about their territory, threatened to have every actor and actress in every winning marriage proposal scene checked for dentures.”

For a second example, this in-full verdict on the 1973 prison drama Papillon, within the entry on “Food Mushing”:

“Some food mushing scenes are not for the fainthearted. This is especially true when they are set in a solitary confinement cell on Devil’s Island. Food mushing fans, however, are not easily revolted. So when Steve McQueen is put on half rations for not squealing on Dustin Hoffman, he shows he can mush food in a revolting way with the best of them. The fact that the ‘food’ he mushes is beetles and grasshoppers in no way violates Rule 3 in the newly revised Food Mushing Manual. In essence, Rule 3 states to the be eligible for a food mushing award, an actor may mush anything as long as it is eventually eaten.”

Now imagine that for about 200 pages, because that’s what Best Movie Scenes is. And I stress the word “imagine,” because I discourage you from reading it. At least those two examples actually reference scenes, because Levine sometimes cheats by not mentioning any. One example, from “Accounting,” is Moonstruck: “In an informal vote the membership elected Cher the prettiest accountant ever to balance the books in a movie.”

I think that the author may be aiming for comedy, but if so, it was lost on this reviewer without a rimshot to cue me. Levine keeps returning to the same titles (Chevy Chase’s Funny Farm earns no fewer than three spots), which demonstrates a dearth of imagination, and occasionally throws in recipes. Repeat: recipes.

Worst of all, and perhaps I’m just nitpicking, but it pains me to no end when books on film don’t bother to get simple facts correct. Peter Riegert is a fine comedic actor deserving of more press than he gets, so it’s an insult to mangle his name as “Peter Reichart,” which isn’t even close.

Revenge of the Nerds II is referred to only by its subtitle of Nerds in Paradise; Francis Ford Coppola’s The Godfather: Part III is rendered as Godfather III; and in Levine’s mixed-up mind, David Fincher’s The Social Network is praised for having taken home Oscars for Best Picture and Best Director — prizes it famously lost.

And on and on it goes, wrongly, lazily, poorly and painfully.

Again, the friend in me grabs you by the shoulders and, with a gentle shove, nudges you instead toward 10 Bad Dates with De Niro, which is everything Best Movie Scenes is not: erudite, witty, logical, readable. —Rod Lott

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This very website serves as an extension for a DIY magazine I produced for a dozen years, beginning in 1993 around the height of zinedom. Titled Hitch: The Journal of Pop Culture Absurdity, the more-or-less quarterly specialized in reviews of films — the more outré, the better — which took up the better part of each issue’s back half.

While I’m glad to be out of the zine scene (it’s a ton of work to put out anything of quality), I hold affection for those times, partly for the movies and subgenres to which I became exposed. I feel like I have found a counterpart of sorts in Australia’s Michael Helms, whose Fatal Visions zine celebrated “sleaze, violence and sexploitation in the cinema” for a decade.

Fatal Visions: The Wonder Years 1988-89 collects the first six issues in paperback, complete except for the excision of reader letters. Each issue among the dirty half-dozen is devoted almost exclusively to reviews of flicks then new to theaters, via VHS rentals or airing on Melbourne TV stations.

A majority of the films are United States productions, so the Down Under viewpoints of Helms and his review crew grant an added level of interest to their rough-and-tumble criticism. While you’ll find all-American blockbusters like Tim Burton’s Batman covered, titles lean heavily on sequels, horror, Troma, Jackie Chan, Roger Corman and assorted trash.

Longer pieces include a Q-and-A with gore king Herschell Gordon Lewis, memoirs of an X-rated paperback novelist, a brief look at Bruceploitation and, better yet, a three-part series that “reviews” the local porn palace theaters, then near-extinct. Only an extended essay on Aussie censors comes off as a little too “had to be there,” yet it’s always nice to see intelligent voices fighting the good fight against those who wish to legislate their own religious beliefs onto the populace.

Much of Fatal Visions‘ nostalgic charm stems from the wealth of clipped newspaper ads — a lost art dearly missed in this online-ticketing era of Fandango and Moviefone. Charming, too, is Helms’ writing style, built more on passion than polish. Readers should be warned that this book hasn’t cleaned up the original errors, which number many, coming from a cut-and-paste zine and all. Those who used to send stamps or a few bills in the mail in return for such homemade publications won’t care. —Rod Lott

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Had I not just read Jimmy McDonough’s acclaimed 2001 bad-moviemaker bio, The Ghastly One: The Sex-Gore Netherworld of Filmmaker Andy Milligan, I would have found Rob Craig’s new book on the same subject much more enlightening.

Don’t get me wrong: Gutter Auteur is recommended to fans of grindhouse flicks; I just feel like much of the über-eccentric filmmaker’s story read as repetitive. (Craig cites McDonough’s book throughout as a source.)

However, I’m guessing many film fanatics haven’t read The Ghastly One. After all, it’s now a dozen years old, out-of-print and, therefore, insanely expensive; Andy Milligan is far from a household name à la Ed Wood; and the only reason I read it is because, having devoured McDonough’s bio on Russ Meyer, Big Bosoms and Square Jaws, a year earlier, I simply wanted more words from him, no matter the subject.

The big question is whether room exists for two books on such a niche personality. Of course! It helps greatly that Craig is not interested in retelling Milligan’s life story beyond a 20-page summation. Instead, he aims his critical eye at examining the man’s movies closely.

Admittedly, it takes a little time to get there — about 120 pages — because preceding the meat are chapters that set up the pervading culture of the late-’60s era in which Milligan began to toil, particularly as the times related to homosexuality (Milligan was gay, to an unnatural degree of hate for heteros) and the sexploitation film. While doing so is necessary, one could argue against the inclusion of two of these chapters: one explaining the Times Square grindhouse, which is the equivalent of choir-preaching here, and the other a biographical sketch of Milligan’s regular producer/distributor, William Mishkin. Whose bio is it anyway?

When we do arrive at the Milligan filmography, rife with underfunded weird-horror efforts that include 1970’s Guru, the Mad Monk and 1972’s The Rats Are Coming! The Werewolves Are Here!, Craig’s book comes alive, ably conveying the seediness and sleaziness of their content.

I should note that I’ve never seen a Milligan movie, and yet, as with McDonough’s Ghastly book, Gutter Auteur hooked me. From all accounts, however, I sense Craig may be ascribing a tad more depth to Milligan’s work than is there. (We soon shall see, as finishing Gutter Auteur prompted me to place an immediate order of Something Weird’s double-feature DVD of 1968’s The Ghastly Ones and Seeds of Sin.)

Of course, it should be considered praise that I found the study so compelling, given my utter lack of exposure to the films delved into so thoroughly. Poster art and stills sprinkled throughout complement Craig’s descriptions and deconstructions of Milligan’s wicked little morality matinees of malfeasance and madness. —Rod Lott

Buy it at Amazon.