#2 | 4.2 | |
#3 | 3.96 | |
#4 | 4 | |
#5 | 3.33 | |
#6 | 4 | |
#7 | 4.06 | |
#8 | 4.58 | |
#9 | 3.87 | |
#10 | 3.92 | |
#11 | 3.91 | |
#12 | 4.05 | |
#13 | 3.43 | |
#14 | 3.81 | |
#15 | 3.43 | |
#16 | 4.22 | |
#17 | 4.01 | |
#18 | 4.01 | |
#19 | 3.87 | |
#20 | 3 | |
#21 | Cities of the Dead Cities of the Dead
| 3 |
#22 | 4 | |
#23 | 4.16 | |
#24 | 4.35 | |
#25 | 3.56 | |
#27 | 4.1 | |
#28 | 3.08 | |
#29 | 3.92 | |
#30 | 4 | |
#31 | 5 | |
#32 | 4.17 | |
#34 | 4.15 | |
#35 | 4.18 | |
#36 | 4.1 | |
#37 | 4.17 | |
#38 | 3.92 | |
#40 | 4 | |
#41 | 3.99 | |
#42 | 3.6 | |
#43 | 3.92 | |
#44 | 4.2 | |
#45 | 4 | |
#46 | 3.93 | |
#47 | 4.25 | |
#48 | 3.96 | |
#49 | 3.85 | |
#50 | 4.04 | |
#51 | 4.39 | |
#52 | 4.25 | |
#53 | 4.04 | |
#54 | 4.29 | |
#55 | 4.25 | |
#56 | 5 | |
#57 | 3.8 | |
#58 | 4.32 | |
#59 | 4.25 | |
#60 | 3.83 | |
#61 | 5 | |
#62 | 4.14 | |
#63 | 3.63 | |
#64 | 3.99 | |
#65 | 4.04 | |
#66 | 3.96 | |
#67 | 4.2 | |
#68 | 3.55 | |
#69 | 4.5 | |
#70 | 3.92 | |
#71 | 3.87 | |
#72 | 3.7 | |
#73 | 4.51 | |
#74 | 4.29 | |
#75 | 3.67 | |
#76 | 3.88 | |
#77 | 4.23 | |
#78 | 4.05 | |
#79 | 3.77 | |
#80 | 3 | |
#81 | 3.69 | |
#82 | 3.15 | |
#83 | Oroonoko, The Rover and Other Works Oroonoko, The Rover and Other Works
| 3.5 |
#84 | 3.79 | |
#85 | 4.53 | |
#86 | 3.2 | |
#87 | 3.96 | |
#88 | 3.85 | |
#89 | 4.33 | |
#90 | 4.09 | |
#91 | 4.18 | |
#92 | 4.06 | |
#93 | 3.64 | |
#94 | 3.51 | |
#95 | Rhetoric and Reality in Air Warfare Rhetoric and Reality in Air Warfare
| 3 |
#96 | 3.45 | |
#97 | 3.49 | |
#98 | 4.22 | |
#99 | 4 | |
#100 | 3.18 | |
#101 | 3 | |
#102 | Science Fiction Film Science Fiction Film: A Critical Introduction
| 3 |
#103 | 4.15 | |
#104 | 4.01 |