Gary A. Smith has compiled an extremely helpful reference listing all of the films released by American-International Pictures from their establishment in the 1950s through their 1980s tenure.  Every American International Pictures film to have achieved a theatrical release is listed, alphabetically, with production information, video availability, synopses, excerpts from period reviews. 

While essentially a reference and not a book about the studio’s history or an assessment of its entries, this guide still serves as both.  American International  Pictures was the leading studio in presenting specific, aggressive entertainment especially for the youth market.  Horror films, beach party musicals, hot rod adventures, and teen angst dramas were among the most predominant sub-genres, resulting in such films as Beach Blanket Bingo (William Asher, 1965), I Was a Teenage Werewolf (Gene Fowler, Jr., 1957), Reform School Girl (Edward Bernds, 1957), and Motorcycle Gang (Edward L. Cahn, 1957).

Roger Corman, set for a special Oscar at the next Academy Awards ceremonies, is one of the most active participants at the studio, and exploring several genres such as westerns ( Five Guns West (1955)), gangster dramas ( Machine Gun Kelly (1958)), and, of course, many horror films, which redefined the genre and set the portent for subsequent productions.  On a low budget, Corman was able to create such timeless cult classics as The Raven (1963) and The Masque of the Red Death (1964), working with such stars as Vincent Price, Boris Karloff, Peter Lorre, and a young Jack Nicholson. 

One has to marvel at the extensive output of American-International pictures, and its myriad of styles, releasing everything from Ghost in the Invisible Bikini to Blacula and all points in-between.

The reference is handy and helpful, with more than statistical information for each title.  The information provided for each entry is interesting and helpful, and provides greater depth than one can find on the overrated internet sites that often include more misinformation than fact.

The author, a film historian with several books to his credit, truly knows his subject and appreciates its contribution to cinema.  While essentially a bread-and-butter production outfit slated for smaller houses and drive-in theaters, with a number of films that were pure exploitation, American-International Pictures also provided solid entertainment, giving many actors and filmmakers opportunities they may not have enjoyed at the other, bigger studios.  The fact that many American International Pictures releases have more effectively withstood the test of time than most of the pretentious epics from the larger Hollywood studios is a real testament to the movies’ true value.

This reference is most highly recommended to scholar and film buff alike.  It is an essential addition to any comprehensive library of film study and reference materials.  One of the very best books of its kind.

Appendices cover American International television, un-filmed projects, prepackaged features, title changes, and comic and paperback tie-ins.  There is a Bibliography and an index.

For more information:
http://www.mcfarlandpub.com/book-2.php?id=978-0-7864-3309-4