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Top 10 Films - 1973 (Oct 22 2013)
Box Office Comment (Oct 26 2013)
Trailers - Captain America: The Winter Soldier (Oct 26 2013)

Top 10 Films - 1974 (Jan 4 2014)

20 to See in 2014 (Jan 9 2014)
Prediction - 2014 Box Office (Jan 14 2014)
Prediction - 2014 Oscars (Feb 25 2014)
Oscar Winners 2014 (Mar 6 2014)
Top 10 Films - 1975 (Sep 20 2014)
Trailers - Star Wars: The Force Awakens (Nov 30 2014)
Trailers - Mad Max: Fury Road (Dec 17 2014)

20 to see in 2015 (Jan 2 2015)

Prediction - 2015 Box Office Part 1 (Jan 5 2015)
Prediction - 2015 Box Office Part 2 (Jan 5 2015)
Prediction - 2015 Oscars (Jan 21 2015)
Oscar Winners 2015 (Feb 23 2015)
Top 10 Films - 1976 (May 1 2015)
Trailers - Hail, Caesar! (Oct 17, 2015)

Prediction - 2016 Box Office (Jan 5 2016)

20 to See in 2016 (Jan 7 2016)
Prediction - 2016 Oscars (Jan 23 2016)
Oscar Winners 2016 (Feb 29 2016)
Movies on My Mind: Week Ending April 9 2016
And the Oscar Should Have Gone to... 1982 (Apr 14 2016)
Movies on My Mind: Week Ending April 16 2016
Movies on My Mind: Week Ending April 23 2016
Movies on My Mind: Week Ending April 30 2016
Movies on My Mind: Week Ending May 7 2016
Movies on My Mind: Week Ending May 14 2016
Movies on My Mind: Week Ending May 21 2016
Movies on My Mind: Week Ending May 28 2016
Movies on My Mind: Week Ending June 4 2016
Movies on My Mind: Week Ending June 11 2016
Movies on My Mind: Week Ending July 2 2016
Movies on My Mind: Week Ending July 9 2016
Movies on My Mind: Week Ending July 30 2016
Movies on My Mind Week Ending Sep 3 2016
23 to See in 2017 (Dec 29 2016)

Prediction - 2017 Box Office (Jan 8 2017)
Prediction - 2017 Oscars (Jan 29 2017)
Oscar Winners 2017 (Feb 27 2017)
Trailers - Blade Runner 2049 (May 10 2017)

21 to See in 2018 (Jan 1 2018)
Prediction - 2018 Box Office (Jan 6 2017)
Prediction - 2018 Oscars (Feb 26 2018)
Oscar Winners 2018 (Mar 5 2018)
23 to See in 2019 (Dec 30 2018)

Prediction - 2019 Box Office (Jan 3 2019)
Prediction - 2019 Oscars (Feb 17 2019)
Oscar Winners 2019 (Feb 25 2019)

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She writes Twilight fan fiction.

Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

My name is Dr. King Schultz, this is my valet, Django, and these are our horses, Fritz, and Tony.

Django Unchained (2012)
(MINOR SPOILERS) Since the painful misstep of Grindhouse/Death Proof, Quentin Tarantino has regained the higher ground like never before. Pulp Fiction, his previous commercial and critical peak, has been at very least equalled by the back-to-back hits of Inglourious Basterds and Django Unchained. Having been underwhelmed by his post Pulp Fiction efforts (albeit, I admired his technical advances as a director in Kill Bill), I was pleasantly surprised by Inglourious Basterds. It was no work of genius (so not Pulp Fiction) by any means, but there was a gleeful irreverence in its treatment of history and even to the nominal heroic status of its titular protagonists. Tonally, it was a good fit for the director’s “cool” aesthetic. As a purveyor of postmodern pastiche, where the surface level is the subtext, in some ways he was operating at his zenith. Django Unchained is a retreat from that position, the director caught in the tug between his all-important aesthetic pr…

Whoever comes, I'll kill them. I'll kill them all.

John Wick: Chapter 2 (2017)
(SPOILERS) There’s no guessing he’s back. John Wick’s return is most definite and demonstrable, in a sequel that does what sequels ought in all the right ways, upping the ante while never losing sight of the ingredients that made the original so formidable. John Wick: Chapter 2 finds the minimalist, stripped-back vehicle and character of the first instalment furnished with an elaborate colour palette and even more idiosyncrasies around the fringes, rather like Mad Max in that sense, and director Chad Stahleski (this time without the collaboration of David Leitch, but to no discernible deficit) ensures the action is filled to overflowing, but with an even stronger narrative drive that makes the most of changes of gear, scenery and motivation.

The result is a giddily hilarious, edge-of-the-seat thrill ride (don’t believe The New York Times review: it is not “altogether more solemn” I can only guess Jeannette Catsoulis didn’t revisit the original in the interven…

No time to dilly-dally, Mr Wick.

John Wick: Chapter 3 – Parabellum (2019)
(SPOILERS) At one point during John Wick: Chapter 3 - Parabellum, our eponymous hero announces he needs “Guns, lots of guns” in a knowing nod to Keanu Reeves’ other non-Bill & Ted franchise. It’s a cute moment, but it also points to the manner in which the picture, enormous fun as it undoubtedly is, is a slight step down for a franchise previously determined to outdo itself, giving way instead to something more self-conscious, less urgent and slightly fractured.

Isn’t Johnnie simply too fantastic for words?

Suspicion (1941)
(SPOILERS) Suspicion found Alfred Hitchcock basking in the warm glow of Rebecca’s Best Picture Oscar victory the previous year (for which he received his first of five Best Director nominations, famously winning none of them). Not only that, another of his films, Foreign Correspondent, had jostled with Rebecca for attention. Suspicion was duly nominated itself, something that seems less unlikely now we’ve returned to as many as ten award nominees annually (numbers wouldn’t be reduced to five until 1945). And still more plausible, in and of itself, than his later and final Best Picture nod, Spellbound. Suspicion has a number of claims to eminent status, not least the casting of Cary Grant, if not quite against type, then playing on his charm as a duplicitous quality, but it ultimately falls at the hurdle of studio-mandated compromise.

She worshipped that pig. And now she's become him.

The Girl in the Spider’s Web (2018)
(SPOILERS) Choosing to make The Girl in the Spider’s Web following the failure of the David Fincher film – well, not a failure per se, but like Blade Runner 2049, it simply cost far too much to justify its inevitably limited returns – was a very bizarre decision on MGM’s part. A decision to reboot, with a different cast, having no frame of reference for the rest of the trilogy unless you checked out the Swedish movies (or read the books, but who does that?); someone actually thought this would possibly do well? Evidently the same execs churning out desperately flailing remakes based on their back catalogue of IPs (Ben-Hur, The Magnificent Seven, Death Wish, Tomb Raider); occasionally there’s creative flair amid the dross (Creed, A Star is Born), but otherwise, it’s the most transparently creatively bankrupt studio there is.

I mean, I think anybody who looked at Fred, looked at somebody that they couldn't compare with anybody else.

Won’t You Be My Neighbor? (2018) 
(SPOILERS) I did, of course, know who Fred Rogers was, despite being British. Or rather, I knew his sublimely docile greeting song. How? The ‘Burbs, naturally. I was surprised, given the seeming unanimous praise it was receiving (and the boffo doco box office) that Won’t You Be My Neighbor? didn’t garner a Best Documentary Oscar nod, but now I think I can understand why. It’s as immensely likeable as Mr Rogers himself, yet it doesn’t feel very substantial.

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The Avengers 6.5: Get-A-Way
Another very SF story, and another that recalls earlier stories, in this case 5.5: The See-Through Man, in which Steed states baldly “I don’t believe in invisible men”. He was right in that case, but he’d have to eat his bowler here. Or half of it, anyway. The intrigue of Get-A-Way derives from the question of how it is that Eastern Bloc spies have escaped incarceration, since it isn’t immediately announced that a “magic potion” is responsible. And if that reveal isn’t terribly convincing, Peter Bowles makes the most of his latest guest spot as Steed’s self-appointed nemesis Ezdorf.

Our very strength incites challenge. Challenge incites conflict. And conflict... breeds catastrophe.

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She can't act, she can't sing, she can't dance. A triple threat.