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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)
20 to See in 2020 (Dec 27 2019)

Prediction - 2020 Box Office (Jan 3 2020)
Prediction - 2020 Oscars (Feb 5 2020)
Oscar Winners 2020 (Feb 10 2020)

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Oh, you got me right in the pantaloons, partner.

The Party (1968) (SPOILERS) Blake Edwards’ semi-improvisational reunion with Peter Sellers is now probably best known for – I was going to use an elephant-in-the-room gag, but at least one person already went there – Sellers’ “brown face”. And it isn’t a decision one can really defend, even by citing The Party ’s influence on Bollywood. Satyajit Ray had also reportedly been considering working with Sellers… and then he saw the film. One can only assume he’d missed similar performances in The Millionairess and The Road to Hong Kong ; in the latter case, entirely understandable, if not advisable. Nevertheless, for all the flagrant stereotyping, Sellers’ bungling Hrundi V Bakshi is a very likeable character, and indeed, it’s the piece’s good-natured, soft centre – his fledgling romance with Claudine Longet’s Michele – that sees The Party through in spite of its patchy, hit-and-miss quality.

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Time Bandits (1981) (SPOILERS) Terry Gilliam had co-directed previously, and his solo debut had visual flourish on its side, but it was with Time Bandits that Gilliam the auteur was born. The first part of his Trilogy of Imagination, it remains a dazzling work – as well as being one of his most successful – rich in theme and overflowing with ideas while resolutely aimed at a wide (family, if you like) audience. Indeed, most impressive about Time Bandits is that there’s no evidence of self-censoring here, of attempting to make it fit a certain formula, format or palatable template.

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Rope (1948) (SPOILERS) Rope doesn’t initially appear to have been one of the most venerated of Hitchcocks, but it has gone through something of a rehabilitation over the years, certainly since it came back into circulation during the 80s. I’ve always rated it highly; yes, the seams of it being, essentially, a formal experiment on the director’s part, are evident, but it’s also an expert piece of writing that uses our immediate knowledge of the crime to create tension throughout; what we/the killers know is juxtaposed with the polite dinner party they’ve thrown in order to wallow in their superiority.

I'm an old ruin, but she certainly brings my pulse up a beat or two.

The Paradine Case (1947) (SPOILERS) Hitchcock wasn’t very positive about The Paradine Case , his second collaboration with Gregory Peck, but I think he’s a little harsh on a picture that, if it doesn’t quite come together dramatically, nevertheless maintains interest on the basis of its skewed take on the courtroom drama. Peck’s defence counsel falls for his client, Alida Valli’s accused (of murder), while wife Ann Todd wilts dependably and masochistically on the side-lines.

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Stage Fright (1950) (SPOILERS) This one has traditionally taken a bit of a bruising, for committing a cardinal crime – lying to the audience. More specifically, lying via a flashback, through which it is implicitly assumed the truth is always relayed. As Richard Schickel commented, though, the egregiousness of the action depends largely on whether you see it as a flaw or a brilliant act of daring: an innovation. I don’t think it’s quite that – not in Stage Fright ’s case anyway; the plot is too ordinary – but I do think it’s a picture that rewards revisiting knowing the twist, since there’s much else to enjoy it for besides.

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Brazil (1985) (SPOILERS) Terry Gilliam didn’t consider Brazil the embodiment of a totalitarian nightmare it is often labelled as. His 1984½ (one of the film’s Fellini-riffing working titles) was “ the Nineteen Eighty-Four for 1984 ”, in contrast to Michael Anderson’s Nineteen Eighty-Four from 1948. This despite Gilliam famously boasting never to have read the Orwell’s novel: “ The thing that intrigues me about certain books is that you know them even though you’ve never read them. I guess the images are archetypal ”. Or as Pauline Kael observed, Brazil is to Nineteen Eighty-Four as “ if you’d just heard about it over the years and it had seeped into your visual imagination ”. Gilliam’s suffocating system isn’t unflinchingly cruel and malevolently intolerant of individuality; it is, in his vision of a nightmare “future”, one of evils spawned by the mechanisms of an out-of-control behemoth: a self-perpetuating bureaucracy. And yet, that is not really, despite how indulgently and glee

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Never Say Never Again (1983) (SPOILERS) There are plenty of sub-par Bond s in the official (Eon) franchise, several of them even weaker than this opportunistic remake of Thunderball , but they do still feel like Bond movies. Never Say Never Again , despite – or possibly because he’s part of it – featuring the much-vaunted, title-referencing return of the Sean Connery to the lead role, only ever feels like a cheap imitation. And yet, reputedly, it cost more than the same year’s Rog outing Octopussy .

Do you know the world is a foul sty? Do you know, if you ripped the fronts off houses, you'd find swine? The world's a hell. What does it matter what happens in it?

Shadow of a Doubt (1943) (SPOILERS) I’m not sure you could really classify Shadow of a Doubt as underrated, as some have. Not when it’s widely reported as Hitchcock’s favourite of his films. Underseen might be a more apt sobriquet, since it rarely trips off the lips in the manner of his best-known pictures. Regardless of the best way to categorise it, it’s very easy to see why the director should have been so quick to recognise Shadow of a Doubt 's qualities, even if some of those qualities are somewhat atypical.

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Dr. Strangelove  or: How I Learned to Stop Worrying and Love the Bomb (1964) (SPOILERS) Kubrick’s masterpiece satire of mutually-assured destruction. Or is it? Not the masterpiece bit, because that’s a given. Rather, is all it’s really about the threat of nuclear holocaust? While that’s obviously quite sufficient, all the director’s films are suggested to have, in popular alt-readings, something else going on under the hood, be it exposing the ways of Elite paedophilia ( Lolita , Eyes Wide Shut ), MKUltra programming ( A Clockwork Orange, Full Metal Jacket ), transhumanism and the threat of imminent AI overlords ( 2001: A Space Odyssey ), and most of the aforementioned and more besides (the all-purpose smorgasbord that is The Shining ). Even Barry Lyndon has been posited to exist in a post-reset-history world. Could Kubrick be talking about something else as well in Dr. Strangelove ?

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Marriage Story (2019) (SPOILERS) I don’t tend to fall heavily for Noah Baumbach fare. He’s undoubtedly a distinctive voice – even if his collaborations with Wes Anderson are the least of that director’s efforts – but his devotion to an exclusive, rarefied New York bubble becomes ever more off-putting with each new project. And ever more identifiable as being a lesser chronicler of the city’s privileged quirks than his now disinherited forbear Woody Allen, who at his peak mastered a balancing act between the insightful, hilarious and self-effacing. Marriage Story finds Baumbach going yet again where Woody went before, this time brushing up against the director’s Ingmar Bergman fixation.