12 Actors Who Earned Oscar Nods for Less Than 20 Minutes

This year I went to see 192 different movies in theaters, plus one rewatch. That's up from 162 in 2018, 140 in 2017, 9 in 2016, and 5 in 2015. I usually go 3 or 4 times per week, mostly on weekends. I keep track of dates/theaters/movies/ratings for fun and save all of the stubs.
My ratings are what I give the movie right after seeing it, with no real 'checklist' or anything, mostly just initial thought/enjoyment/opinion. It's not meant to be taken super seriously, I'm not a professional reviewer.
This is my full ranking for the year, from favorite to least-favorite, with a few small reviews/thoughts thrown in:
Monos - 10/10 - Hands-down my favorite movie of the year and honestly high on my all-time list. It's Apocalypse Now meets Lord of the Flies, with some Beasts of No Nation thrown in. It builds a unique, lived-in world that's believable and brutal. Beautifully-filmed, some of the best shots of the year (the ending shot gets seared in your mind). Modern and grounded look at a militia/cartel fighting against an unnamed enemy in a Colombian jungle. It almost feels post-apocalyptic instead of 'cartel vs government', which I really loved. You get to imagine your own backstory as the story unfolds. Unforgiving and gut-wrenching, but hopeful too. Got a lot out of its cast. Can't recommend this movie enough. Really disappointed this didn't make the Best Foreign Language Film shortlist. "Masterpiece" gets thrown around a lot, but in my mind this is the only one this year.
Marriage Story - 10/10
The Farewell - 10/10
Journey to a Mother's Room - 9/10 - Biggest surprise of the year, came out of nowhere. Deeply-personal story between a mother & daughter. It's very basic on the surface, and there's not much story (you start at Point A, and end at Point A), but it's the most emotional movie of the year. If you don't cry at least 3 times during this, you're probably not human. It's all about the unbreakable connection you have to your parent(s), from the day you're born until the day you die. It only takes place over the course of a few months, but feels like lifetimes. Beautiful little movie about separation, loss, and human connection.
Waves - 9/10 - I could write 20 pages on how much I loved this movie. To keep it short, it's got a perfect soundtrack, perfect setting, awards-worthy performances (from Kelvin Harrison Jr., Sterling K. Brown, and Taylor Russell). Visceral story that grips you from the first minute and doesn't let go until the closing shot. Unique use of colors and aspect-ratio. It takes a huge risk structurally that pays off. It's also the only movie I went to see twice this year. Really worth it too, picked up on a lot of stuff on the second viewing. Would've went a third time if theaters kept it playing longer. Every tiny decision/action has a huge impact. Just watch this.
Last Black Man In San Francisco - 9/10
Birds of Passage - 9/10
Apollo 11 - 9/10 - The best documentary of the year. Probably the best editing (and use of sound) I've ever seen/heard in a documentary. It's unique because they don't use interviews like most documentaries do, it's real sound the whole through. Impressive use of archival footage/audio.
Uncut Gems - 9/10 - This movie wasn't on the Best Original Score shortlist for the 2020 Oscars. This aggression will not stand.
The Mustang - 9/10
Wild Rose - 9/10 - If this doesn't win the Oscar for Best Original Song ('Glasgow'), I've lost all faith in the Academy. The ending concert scene had me crying like a baby. Jessie Buckley is gonna be big. Best music-drama since A Star Is Born.
Transit - 9/10
Ad Astra - 9/10 - Top-notch acting, great atmosphere, world-building, existentialism, beautiful VFX, engaging score. Best opening scene of the year. Thoughtful commentary on modern society all wrapped in a Heart of Darkness blanket. If you're into space/exploration movies, then I recommend this. Surprised at the backlash this movie has gotten on /movies.
The Report - 9/10 - This was a really good year for legal-thrillers and The Report was the cream of the crop. Tight, Sorkin-like script with top performances from Adam Driver & Annette Bening. Could change a lot of minds about the war on terror and use of torture.
Parasite - 9/10
Once Upon A Time In Hollywood - 9/10
Midnight Traveler - 9/10 - If you feel like life is unfair and the odds are stacked against you, watch this movie. It puts everything in a different perspective. Every problem you have is going to seem minuscule compared to what this family went through. It's eye-opening and should fill you with anger.
Luce - 9/10 - It's Kelvin Harrison Jr's world and we're just living in it.
The Irishman - 8/10
Mickey and the Bear - 8/10 - Camila Morrone puts in the best breakout performance of the year. PTSD, drug-addiction, alcoholism, rural Montana, toxic relationships, James Badge Dale, following your dreams. What's not to love?
The Art of Self Defense - 8/10 - The best dark-comedy of the year. So many great one liners. It's like Yorgos Lanthimos directing Death of Stalin, set in a karate studio. Surprisingly violent and depressing, but in all the right ways. Jesse Eisenberg's best movie since.....The Social Network?
Peanut Butter Falcon - 8/10 - "Am I going to die?" "We all do, it's only a matter of time, now stop being a little bitch." - Favorite line of the year, really stuck with me.
Everybody Knows - 8/10
Mary Magdalene - 8/10
Knives Out - 8/10 - Well-crafted whoddunit with an ensemble cast. Just a genuinely fun time at the movies. Ana de Armas with well-deserved leading role for once. A few of the characters are a tad bit unrealistic (and basically caricatures), but the movie doesn't take itself seriously enough for that to be a problem. Daniel Craig hamming it up with a Southern accent was fun. Old school film with a modern twist.
The Lighthouse - 8/10
The Dead Don't Die - 8/10 - This movie really isn't for everyone, but I loved the dry humor and purposefully-bad chemistry/dialogue. The line delivery was off-putting but hilarious. Everything is extremely on-the-nose and it works. I could watch 10 hours of Tom Waits talking to himself.
Us - 8/10
Villains - 8/10
Ford v Ferrari - 8/10
Midsommar - 8/10
Jojo Rabbit - 8/10
Official Secrets - 8/10 - Keira Knightley with one of the most underrated performances of the year. Another really good legal/political-thriller that exposes the dark side of government bureaucracy.
Pain & Glory - 8/10
John Wick 3: Parabellum - 8/10
Queen & Slim - 8/10
Amazing Grace - 8/10 - Great concert-documentary. Some of Aretha Franklin's performances in this should give you insane chills. I actually had this one rated higher right after watching it, but then looked up some of the people shown on screen and it turns out some were real pieces of shit, while preaching to people like hypocrits. Felt gross and took a lot of the magic out. One of my few revised scores this year.
A Beautiful Day In The Neighborhood - 8/10
Joker - 8/10
Non-Fiction - 8/10 - It's very French (talky and sexual) and the writing seems impressed with itself, but it's a good adult-drama that surprised me. I'm a big fan of Olivier Assayas and this is some of his best work.
Rocketman - 8/10
Stan & Ollie - 8/10
Hustlers - 8/10
Avengers Endgame - 8/10
Doctor Sleep - 8/10 - It gets bloated and probably needed to be 20-30 minutes shorter (there's a shit ton of side-characters), but it was a worthwhile sequel to The Shining. Didn't feel like a cash grab and carries its own weight.
Booksmart - 8/10
Little Monsters - 8/10 - I'd recommend watching this based just on Josh Gad's character. So over-the-top and hilarious. When he starts chugging hand sanitizer might be the most I laughed in a theater this year. Also Lupita Nyong'o playing & singing on the ukulele to a bunch of kids is exactly what I needed in my life. Cute zombie-comedy with a ton of heart.
Spider-Man: Far From Home - 8/10
A Hidden Life - 8/10 - If there's a song from this year (or this decade even) that I'd want played at my funeral, it's James Newton Howard's theme from this movie. It's so beautiful and perfectly captures the feel of the movie. That song broke me down every time it played. I can't imagine this movie without it, it's that good. It's a shame this movie is getting ignored this awards season.
Never Look Away - 8/10
Toy Story 4 - 8/10
Pavarotti - 8/10
The Biggest Little Farm - 8/10- If you're really into the inner-workings of a Californian farm, then this is the documentary for you.
Abominable - 8/10
The Current War - 7/10
Artic - 7/10 - Well made, solidly-acted. I loved the small details about survival that this movie brings up, makes it very grounded and realistic. I'm kinda bored of survival movies in general so this didn't blow my mind or anything.
Bombshell - 7/10
Honey Boy - 7/10 - Pretty big letdown because I had really high expectations for this one. Lacked the emotional punch I hoped for. Didn't land for me at all, kind of like Boy Erased last year. I appreciate how honest and revealing it was, took a lot of guts for Shia LaBeouf to put this out there but it's forgettable. Lucas Hedges' Shia impression was reallllly on point though, that was worth the price of admission right there. Mid90s last year was a 10/10 for me and I expected the same for this. It was good, not great.
American Woman - 7/10 - Sienna Miller's performance in this is awards-worthy. The accent she does is perfect and it might be the most underrated role of the year. The movie gets way too tearjerky at the end though. It's basically 2 hours of bad shit happening to a good person, which gets a bit overwhelming.
The Beach Bum - 7/10
Captain Marvel - 7/10
Spies In Disguise - 7/10 - Looked pretty generic based on the trailer, but was actually pretty funny.
Cold Pursuit - 7/10
Tolkien - 7/10 - Not much happens but it felt really comfortable. Solid performances all around and they handled the WW1 scenes better than I thought they would. Expected to be bored out of my mind based on the reviews and trailer but it flowed well. As far as "Nicholas Hoult Biopics of Famous Writers" go, it's miles ahead of Rebel in the Rye 2 years ago.
Jumanji: The Next Level - 7/10
Sauvage/Wild - 7/10
Detective Pikachu - 7/10
Maiden - 7/10
Dark Waters - 7/10 - . Good performances and an okay script, even though it beats you over the head sometimes. Total waste of Anne Hathaway. She's way too good of an actress for a boring, generic, 'supporting wife' role with just a few lines. Not even sure why she was in this. Overall, a solid legal-thriller, which is a genre I really enjoy and I've been missing since its late-90s heyday. Pretty crazy story too, scummy and evil corporate greed is always interesting to explore on film (like The Insider). Should've been 20 minutes shorter and less on-the-nose
Adopt A Highway - 7/10
The Wedding Guest - 7/10
The Hummingbird Project - 7/10
Motherless Brooklyn - 7/10
The Lion King - 7/10
Last Christmas - 7/10 - It's really easy to bash this movie, a lot of the humor falls flat and the twist is ridiculous, but I couldn't help walking out with a smile. I love how committed Emilia Clarke was to the character, and her interactions with her boss and family were legitimately heart-warming at times. Also did I mention how ridiculous that twist is?
Richard Jewell - 7/10 - This was decent. Even though it's clearly Clint Eastwood's personal crusade (and thinly-veiled propaganda piece in some regards) against the FBI & the Spooky Media™, it still told the story effectively/semi-believably. Some of the characters (Hamm/Wilde obviously) were pretty ridiculous caricatures though, was hard to take anything they said seriously, I mean come on. You just roll your eyes at most of what they say. Some of the situations and encounters are too-conveniently set-up but that's easy to overlook. It had very solid performances (Hauser was great, especially when he finally let's his emotion show, in that scene where he kicks the table). Much better than The Mule, and 20x better than 15:17 To Paris.
Star Wars: Rise of Skywalker - 7/10
21 Bridges - 7/10
Before You Know It - 7/10
Hobbs & Shaw - 7/10 - This is peak "Stupid Summer Popcorn Movie" and I thoroughly enjoyed it. It's The Meg of 2019.
Fighting With My Family - 7/10
Pet Sematary - 7/10
Downton Abbey - 7/10 - Never saw a single episode of the show before watching the movie, but it still felt familiasafe to jump right in.
Yesterday - 7/10
Greta - 7/10 - It's a cheesy, predictable, non-scary horror film but I liked it. Sometimes you just need Isabelle Hupert to play a psychopathic serial killer. Felt very old-school, a movie straight out of the 1980s.
Judy - 7/10 - It's the definition of Oscar bait and is emotionally manipulative, especially towards the end, but it does a great job at humanizing a Hollywood legend.
Frozen 2 - 7/10
Aladdin - 7/10
The Souvenir - 7/10
Zombieland 2: Double Tap - 7/10 - Nowhere near as memorable/iconic as the first one, but it still got a bunch of laughs from me (especially the Thomas Middleditch/Luke Wilson scene). Above-average for a comedy-sequel, but I could see this one not aging well.
The Two Popes - 6/10 - Two solid performances but underwhelming overall, too many cheap-looking flashback scenes, not enough Pryce/Hopkins. Reminded me of Can You Ever Forgive Me? last year, depending on the 2 leads to carry a weak movie/premise on their back, to disappointing results. Highly-overrated movie.
Ready Or Not - 6/10
Anna - 6/10 - It's basically Red Sparrow but slightly worse.
Saint Frances - 6/10
Hotel Mumbai - 6/10
Shazam! - 6/10 - Low-stakes, formulaic, superhero movie clearly made with strict budget limitations. It hits all the notes you'd expect a movie like this to hit. It was decent.
Alita: Battle Angel - 6/10
Loro - 6/10 - One of the more disappointing movies of the year. On paper it sounds amazing, a sprawling biopic of an infamous/corrupt Italian politician/mogul by Paolo Sorrentino who's not that far removed from a masterpiece? Sign me the fuck up. But nah, this was a shallow, surface-level (like my reviews), pointless dull knife of a biopic. Too much shoehorned religious imagery too. Tone is all over the place. It can't decide whether it's serious or funny and gets lost in-between. It looked nice at least. It also wins this year's "Most Nudity" award, easily beating the rest of the field.
Teen Spirit - 6/10
The Upside - 6/10
Gloria Bell - 6/10 - Great performance from Julianne Moore but this just felt like "Middle-Aged Crisis: The Movie". Just couldn't connect to it. I imagine the original is a lot better.
On The Basis Of Sex - 6/10
Stockholm - 6/10
Give Me Liberty - 6/10 - This is an example of a movie that has its heart in the right place but bites off a lot more than it can chew. There's a beautiful, emotional story in here somewhere, but it's too muddled with ineffective editing tricks and too many side-stories. It's sweet in some ways and the true-life characters bring a lot of charm, but it didn't do that much for me. A lot of 'year-end' lists have this as one of the most overlooked movies of the year, but I don't see it. Rough editing, bad soundtrack.
Child's Play - 6/10
Good Boys - 6/10 - Just watch Booksmart instead.
Styx - 6/10
Woman at War - 6/10
The Lego Movie 2 - 6/10
Missing Link - 6/10
Long Shot - 6/10 - The chemistry between Charlize Theron & Seth Rogen was great but the jokes couldn't really match it. It's a unique mix of politics & humor, but fell short of being an actual crowd-pleaser.
Echo in the Canyon - 6/10
Cyrano, My Love - 6/10
Dora the Explorer - 6/10
Brittany Runs A Marathon - 6/10
IT: Chapter 2 - 6/10 - Way too long. Felt like a never-ending series of fetch-quests. Good CGI & acting though.
Mister America - 6/10
Crawl - 6/10
Trial By Fire - 6/10 - Great performances by Laura Dern & Jack O'Connell get overshadowed by an overly-preacy script. It doesn't let the audience make up its own mind.
The Third Wife - 6/10
Godzilla: King of Monsters - 5/10 - This needed less humans, more monsters.
Glass - 5/10
Escape Room - 5/10
Terminator: Dark Fate - 5/10
Dumbo - 5/10
All Is True - 5/10
Brightburn - 5/10
The White Crow - 5/10 - One of those biopics where the movie doesn't do justice to the story. Reading the Wikipedia page on this guy's life, you'd except an Oscar contender. Instead it was just okay. Watch Cold War instead. It's basically this movie but better.
High Life - 5/10 - Unpleasant.
Where'd You Go Bernadette? - 5/10
Scary Stories to Tell Dark - 5/10
Her Smell - 5/10 - This movie made me physically nauseous. The tight, claustrophobic, haze-filled shots in the first 2 acts really threw me off. It's temporarily redeemed by a reallllllly good third act and a solid performance from Elisabeth Moss. But then deflated by a terrible final scene.
By the Grace of God - 5/10 - Based on the critical acclaim, director, and subject matter, I walked in expected to be blown away. Basically expected Spotlight, but this movie completely derails at the halfway point. Hard to sit through.
Blinded by the Light - 5/10
The Best of Enemies - 5/10
The Aeronauts - 5/10 - This is mis-marketed as an intense survival story but it's really just a boring biopic with too many flashbacks.
Fall of the American Empire - 5/10
Family - 5/10
The Goldfinch - 5/10 - It turns out an unfilmable novel really is unfilmbable, who would've thought? Shoutout to Jeffrey Wright & Finn Wolfhard for actually trying.
Angel Has Fallen - 5/10
Gemini Man - 5/10
Late Night - 5/10
Black and Blue - 5/10
Diane - 5/10 - This was just depression-porn. Sometimes it works (Mungiu/Zvyagintsev), sometimes it doesn't (this movie). It's such a bummer. Wouldn't recommend this to anyone but Mary Kay Place's performance makes it watchable and engaging sometimes.
Destroyer - 5/10
How To Train Your Dragon 3 - 5/10
Rafiki - 5/10 - I feel bad for this score because I get that this is a really important/significant movie for African Cinema, but I just couldn't get past the terrible acting, bad (like baaaaaad) dialogue, and lackluster story. Again, pretty big achievement that this got made and reached a global audience, but yeah, in a vacuum, it's undoubtedly a bad movie. Felt like an amateur movie on a shoestring budget.
Captive State - 4/10
Wild Nights With Emily - 4/10 - This movie is what happens when someone asks the question "hey, what if we turned Emily Dickinson's life into an SNL skit?". I get what they were going for, and Molly Shannon is great, but this was extremely unfunny and probably the longest 84-minute movie I've ever seen.
Dark Pheonix - 4/10
The Addams Family - 4/10
Midway - 4/10
To Dust - 4/10
Rojo - 4/10 - The only memorable thing about this movie is that there was a power outage about 90 minutes in so they comped my ticket and gave me a free drink. So that was cool, I guess.
The Kid Who Would Be King - 4/10
MIB: International - 4/10
The Kid - 4/10 - There's a 98% chance that this movie is some kind of tax write-off or money laundering scheme. It somehow got 2 big names (Pratt & Hawke), co-starring the son of the producer in his first movie ever. Directed by Vincent D'Onofrio for some reason (???). Was dumped by Lionsgate in a few hundred theaters with 0 marketing/promotion, and flopped hard. It's dated, boring, and unoriginal. Cheesy dialogue. Literally a story that's been told a million times before, usually in much better ways. No reason for this to exist. Chris Pratt has the worst fake-movie-beard of all time in this, that's kinda worth checking out.
Ramen Shop - 4/10
The Good Liar - 4/10- The most convoluted, needlessly-complicated plot of the year. Helen Mirren & Ian McKellen both phone it in (I don't blame them, they were given trash to work with). I hate when movies try to crowbar "WW2 flashbacks" into their movies when it's not needed.
Climax - 4/10
Harriet - 4/10
Lucy in the Sky - 4/10 - Once or twice a year, a movie comes along that has such a frustrating/stupid/anti-climactic ending it makes me actually angry. This is that movie. Natalie Portman had another movie like that last year (Vox Lux). Hey Noah Hawley, what the fuck?
Freaks - 4/10 - This movie would fit well in the "Good Idea But Bad Execution" subreddit.
Tel Aviv On Fire - 4/10
Ma - 4/10
Frankie - 3/10
Stuber - 3/10
Serenity - 3/10 - In a year full of batshit-crazy twists (looking at you, Last Christmas), this easily had the batshit-iest twist. It's something you actually have to experience yourself, and be fully-immersed in it, to appreciate how mind-numblingly crazy it is. How they got A-list talent for this script is a total mystery, but it probably involves of a lot of favors and cocaine. It's almost "so bad its good". Almost. I can't wait for the sequel, Free Guy, next year.
Maleficent 2: Mistress of Evil - 3/10 - More genocide than I expected for a live-action Disney fairy tale movie.
Donnybrook - 3/10
The Photograph - 3/10 - Zzzzzzzzzz...
Charlie's Angels - 3/10
Hellboy - 3/10 - This movie is like that annoying kid in middle school that tries way to hard to be edgy. It's gory and vulgar just for the sake of being gory & vulgar. It reminded me of the Predator reboot last year, had the same kind of dated/forced humor that seems to have no real target audience (except for the aforementioned middle school edgy kid I guess). Bad CGI and a boring villain. iirc it also had a lame sequel-bait ending which I hate.
Happy Death Day 2U - 3/10 -
The Sun Is Also A Star - 3/10 - It's filmed like a generic music video and has the emotional depth of a puddle.
Don't Let Go - 3/10
The Invisibles - 3/10
Playing with Fire - 3/10 - This was just like Mark Wahlberg's Instant Family last year, except that it was worse in every imaginable way. No lie, the end-credits bloopers were by far better than anything else in the movie. It was the only time I even chuckled or felt any type of emotion.
Cats - 2/10 - There's not much more I could say that already hasn't been said. Yes, it was bad. No, it wasn't the worst movie in history. For me, it was just so boring. Forgettable songs (except Beautiful Ghosts), no story/plot, nonsensical ending. Just wanted it to end. Jennifer Hudson just floating into space for no reason, Judi Dench giving me unwarranted lessons about raising cats, Ian McKellen slurping milk from a bowl, Extremely-Hairy-And-Naked-Idris-Elba, Cockroach Genocide, etc. These things all happened and we can't change them, and for us to grow as a society, we need to just move on and learn from our mistakes.
Rambo: Last Blood - 2/10
The Sound of Silence - 2/10 - More like The Sound of Boredom, amirite? No but seriously, that's all I got. This movie was the closest I got to falling asleep in my seat this year.
Synonyms - 2/10
Black Christmas - 2/10 - Extremely cheesy dialogue, cop-out violence, boring/predictable jump scares, low production value (bad even for a low-end Blumhouse movie), some of the worst one-liners you've ever heard, unrealistic/2D characters. Shitty ending. Wayyyyy too heavy-handed with the message. About as subtle as a flying brick to the forehead. Amateur acting, cutaway for every death, etc etc.
After the Wedding - 2/10 - Overacted, muddled garbage.
47 Meters Down Uncaged - 1/10
Shaft - 1/10 - Crude, unfunny, soulless, grating, pointless. There's a million adjectives I could use to describe this reboot, and none of them are positive. This is one I'm surprised I didn't just walk out of. Probably didn't have anything better do do that day.
Jexi - 1/10 - This year's worst movie. It's just the kind of movie that leaves a bad taste in your mouth, like you need to watch something else to get the stink of this one out of your mind. It was just so mean-spirited, from start to finish. Not a single joke landed, you just hated all of the characters. There are no redeeming factors. On the technical side, it was very basic, looked like a cheap music video. No memorable scenes, no good lines of dialogue, no originality in any way. None of the "cheerful"/"pick-me-up" moments earn any kind of emotional reaction. If you had a freshman high-school film student remake Her as a shitty comedy, this would be it. The fact that I paid money to see this is something I will never live down.
Movies that I saw outside of theaters, not included in the list:

• The King - 8/10 - Netflix
• Paddleton - 8/10 - Netflix
• El Camino: A Breaking Bad Story - 8/10 - Netflix
• High Flying Bird - 7/10 - Netflix
• Dolemite Is My Name - 7/10 - Netflix
• Triple Frontier - 6/10 - Netflix
• The Boy Who Harnessed Wind - 6/10 - Netflix
• The Laundromat - 5/10 - Netflix
• The Highwaymen - 5/10 - Netflix
• Velvet Buzzsaw - 4/10 - Netflix
• Bird Box - 4/10 - Netflix
• Six Underground - 2/10 - Netflix

Movies that I saw in theaters in 2019, but are not included in the list due to original release date:

• If Beale Street Could Talk - 9/10
• Cold War - 9/10
• Capernaum - 9/10
• Mary Poppins Returns - 7/10
• The Charmer - 6/10

Movies that I haven't seen yet but will see in the next few weeks:

• Little Women
• 1917
• In Fabric
• Tremors
• Just Mercy
• Midnight Family
• A Million Little Pieces
• The Earthquake Bird
• American Son
• Portrait of A Lady On Fire
• Clemency
• Beanpole
• The Kingmaker
• The Song of Names

Here is the distribution of theater visits by day of the week:
https://i.imgur.com/aIlGc6d.jpg
Throughout the year, I've gone to 13 different theaters. 9 at major chains, and 4 at indie theaters. Here's the distribution of visits by theater:
https://i.imgur.com/MuGEcEp.png
Here is the distribution of theater visits by month:
https://i.imgur.com/DhTqpeB.jpg
Other:

• The longest stretch I went without going to the movies was from July 21st thru August 20th, without a single trip to the movies. Partially due to an out-of-country trip and personal stuff. During this time I "missed out" on The Kitchen, The Nightingale, Brian Banks, and Honeyland. Mostly caught up to the rest.
• The most theater visits in a one-week span was November 1st thru November 8th, with 8 movies that week.
• The most in one day was 3 movies in theaters on March 15th, 2019 (Styx, To Dust, and Captive State).
• There were 26 double-headers this year (two movies in theaters during the same day, usually back-to-back).

Solid year, not as many surprises as 2018 though. Going to try to break 200 in 2020.
Here is last year's ranking:
https://www.reddit.com/movies/comments/aavyri_saw_162_movies_in_theaters_in_2018_here_is_my/

Up until about two weeks ago, I had only seen three of the Daniel Craig Bond movies (CR, SF, SP) but since NTTD has been pushed back, and Quarantine has given me a lot more time of my hands, I figured I would watch the rest of the official series. It’s safe to say I am a Bond fan now :)

1. Casino Royale- I know recently it’s become the ‘cool’ thing to hate on Craig’s take as Bond, or his tenure as Bond or whatever people like to bitch about, but Casino Royale really reminds you why his Bond is so popular. A lot of entries in my top ten I could get sick of after awhile, but like GoldenEye, Casino Royale really only gets better on rewatch. Craig is fantastic as a young double O agent who is overly confident but at the same time charming as hell. The movie really strips away all of what we know of Bond completely by the end of the movie and leaves us with a hardened agent. I used to dislike the stuff with Vesper, but recently I’ve been able to really appreciate the value in her character. Le Chiffre is actually a villain you can understand, and every scene is masterfully done.
2. Licence To Kill- When talking about TLD, I was pretty much just gushing over Dalton, but the reason why is that everything that is set up in that movie, is paid off in LTK. While I would have loved a third Dalton movie, the two he is featured in really give a lot of closure to his character in my eyes. He’s introduced as this agent who is more of a reluctant hero, as he doesn’t like taking orders and is questioning his occupation as a killer. All of this comes to a head when his friends are maimed and killed, and he seeks revenge against a dangerous drug cartel. It almost makes Dalton’s Bond feel tragic in a way, like he’s destined to always be a killer. Not that this movie is completely depressing, it honestly has some of the best action in the series, and Sanchez is definitely the most underrated Bond Villain. Can’t get enough of Dalton’s Bond, but LTK, like Skyfall, just feels like an event in the series.
3. GoldenEye- Does anyone really dislike GoldenEye? I don’t think I’ve ever seen or met someone who doesn’t like this movie. Well it’s not really hard to see why, because as Bond was launched into the 90s, this soft reboot really took Bond in an incredibly exciting direction. The scale of this movie feels so much larger than anything else in the franchise and is always fun to watch. Brosnan feels so fresh and new, almost like a predecessor to Connery. He’s cool and confident, and his scene with M is one of my favorites. Could watch this movie at anytime and still love it.
4. Goldfinger- Maybe the most Iconic Bond movie, Goldfinger is just really entertaining but also groundbreaking for establishing the Bond formula. Goldfinger himself is easily Connery’s best villain, maybe just because he feels so determined and isn’t connected to SPECTRE or anything. Connery is amazing, the set pieces still hold up, and is just a fantastic film I’m it’s own right.
5. The Living Daylights- Timothy Dalton is without a doubt my favorite Bond. I find him to be a perfect amalgamation of all the Bonds. He’s got the ruthless cold demeanor of Craig, the sensitivities of Lazenby, he has no trouble finding humor in situations like Moore, he can easily charm a woman like Connery and he knows how to use a gadget from Q just like Brosnan. I know now Dalton is in no ways underrated, maybe only by the general public, but I’m really glad he’s getting a fair shake these days. While I prefer LTK, Daylights introduces us to Dalton’s fresh take and also includes my favorite Bond girl, simply because for once in the series, Bond actually seems to be in love. The only thing I could say against this movie is that the Villain is unfortunately very weak, but other than that, a great movie in the series.
6. Skyfall- Coming up on almost 25 movies in a franchise, Bond movies can often feel pretty disposable but Skyfall really feels like an event in the series. Coming 4 years after one of the worst movies in the franchise, the plot line questioning if Bond is up for his missions feels really relevant and actually attempts to explore the character. Despite the first act being a little slow moving, once the film introduces Silva, my favorite Bond villain, it really becomes something special. Judi Dench’s M delivering her testimony in court spliced with Silva wreaking havoc in London still gives me chills. Amazing visuals, a standout plot and Villain, and Craig at the absolute top of his game.
7. Live And Let Die- I feel like Moore’s first outing is one of the more underrated or at least under appreciated moments in the series. When I think of the Moore era, with all the quips and gadgets and camp, I immediately think of scenes from LALD. It’s also one of the weirder movies in the franchise, dealing with Voodoo and seemingly attempting a blaxploitation film. I love the villains, I love how weird it is, I love Solitaire who’s easily one of my favorite Bond girls. This is just a really easy to digest and entertaining movie to me.
8. Thunderball- One of my favorite parts of these movies is easily the stunts and action set pieces so it’s strange that that is my least favorite aspect of Thunderball. I’m sure they were impressive in 1965, but 55 years later I wouldn’t say it really holds up. That said, this is one of my favorite Connery performances. It’s just so entertaining watching him interact with the environments and the different characters and it’s clear that he’s having fun, so I always feel like I’m having fun when I watch this movie.
9. For Your Eyes Only- Considering Moore was relatively old to play Bond when he started his Tenure, five films in it really starts to become apparent. I’m someone who definitely prefers a younger Bond, but this is a rare occasion in the series where an older Bond actually fits in the story. This movie I find to be the most interesting Moore film and while its not high art or anything, it’s quite a contemplative moment for the Bond films.
10. From Russia With Love- I want to get the negatives out of the way in saying I really don’t like the first hour of this movie. Nothing stands out at all and I just find it a drag to sit through. That being said, and with this movie being in my top ten, it’s really a testament to how great the second half is. All the scenes on the train feel like classic old school Bond and it’s a shame nothing like this will probably ever be made in the series again. Very well done and exciting to watch.
11. The Man With The Golden Gun- Like I said earlier, even though he’s not my favorite Bond I can enjoy almost all of the Moore era movies. JW Pepper is one of the strangest decisions ever made for the series IMO and just on that, I can’t help but enjoy how stupid this movie is. I feel like it’s weakness is that it tries to be too much like LALD which is definitely better, but it’s still pretty enjoyable.
12. Octopussy- Is this a hot take to have Octopussy so high? I mean yeah the gorilla, Tarzan and clown scenes are admittedly stupid, is it really anymore stupid than anything else in the series? I don’t know, I think it’s kind of fun seeing Bond in these environments. The plot is decent, the villain is decent, the title is hilarious, I just enjoy this one for whatever reason.
13. The Spy Who Loved Me- While not my favorite Moore movie, it is easily one of the most iconic. Moore is at the top of his game despite an underwhelming main villain. Jaws is great, Bond is fun, and the girls are equally as enjoyable to watch. Definitely a crowd pleaser.
14. Dr. No- Similar to OHMSS, I don’t know how often I would rewatch this movie, but it definitely feels important as you watch it. Even though the franchise would improve beyond this point, it really is impressive how well everything was coordinated even from the start. Connery didn’t need any time to ease into the role and it shows. A really important and enjoyable movie.
15. On Her Majesty’s Secret Service- I’ll be completely honest, this has never been one of my favorites of the series but I do appreciate it for what it is. Great directing and lighting in this movie which I really appreciated, but what holds this one back so much for me is Lazenby’s performance. I know he has his fans, but I really just never see him as Bond, and since it’s a Bond movie, I really never feel the urge to rewatch this movie. I like the idea of a more sensitive Bond, and the closing scene is genuinely emotional, I just personally am not a big fan.
16. The World Is Not Enough- I’m glad people don’t look down on this movie as much anymore because to be honest it’s pretty fun to watch. I’d say the worst thing about it is it feels like one of the sillier Bond plots, but Brosnan is going for a more serious portrayal of the character. Both work on their own, but I think it would work better if they were both kept for other missions. Still, really good action, very entertaining, Brosnan is great, and I don’t care how bad she is in the movie, Denise Richards is hot as fuck.
17. Spectre- If this movie didn’t include all the ridiculous nonsense of Bond and Blofeld being brothers, and Blofeld being connected to all the other Craig movies, and maybe just everything including Blofeld, I could see this sitting comfortably a few spots up on this list. Because taking all that shit out, it’s pretty much a by-the-numbers Bond mission which it seems fans have been clamoring for for awhile now. Don’t hate this movie, Craig is still good, the action is fine, you can watch it. But definitely some terrible decisions in the script process.
18. A View To A Kill- Often regarded as Moore’s worst, sometimes even considered the franchise’s worst, but mostly just a guilty pleasure for me. As a fan of bad movies, I can’t really hate this film. It’s hilarious watching a near sixty James Bond trying to stop Christopher Walken from blowing up Silicon Valley. Just a really strange but fun to laugh at movie.
19. You Only Live Twice- Definitely the moment where the wheels started to come off for Connery, but has some enjoyable elements. Connery is still charming and the adventure is still there for the most part, it just doesn’t really stand out in the franchise.
20. Tomorrow Never Dies- While this isn’t the worst Brosnan Bond film, it is Brosnan’s worst performance as Bond if that makes sense. I think he’s a great Bond otherwise, but he’s probably the worst thing about this movie. He seems bored and like he’s about to fall asleep the whole movie. Only thing that keeps it from being a complete waste is a few standout action scenes especially the remote control car chase. Also Brosnan is legitimately good in his scene with Q.
21. Diamonds Are Forever- My most controversial take on the entire Bond series might be the fact that I don’t see Connery as the ideal Bond or the best to play the character or anything to that effect, but I’ll be the first to admit his run as Bond was definitely one of the most consistent. Unfortunately even for him, he got to the point where it was clear he was just showing up for a paycheck.
22. Moonraker- Most agree that Moore stuck around in the Bond role for far too long, but it’s odd how IMO, Moores worst comes directly in the center of his tenure. Not much else to say, except I was extremely bored throughout the duration of this movie. Moore doesn’t seem to care so why should I. Jaws coming back was ok and I kind of liked the scene on the ski lift or whatever that was, but really all you get from this outing is recycled set pieces from better Bond movies and a shameless rip off of Star Wars for the last 25 minutes. Eh.
23. Quantum Of Solace- It’s kinda weird how this movie brings absolutely nothing to the table, coming directly after one of the biggest breathes of air in the entire franchise. Just feels like the director heard that the Bond franchise was heading in a dark direction and decided to make the dullest action movie of all time. I’m all for experimentation in this series, but it not only doesn’t feel like a Bond film, it doesn’t feel like anything at all. Only reason it’s above DAD is because it didn’t necessarily put me in a bad mood (literally put me in no mood at all) and I think the Bond theme is pretty good. I have this as the worst Craig movie and not Spectre I guess just because even though Spectre has laughably bad writing, at least it has something to laugh at.
24. Die Another Day- Honestly even though I definitely prefer the grittier more modern approach to Bond, I can definitely get into a campy Bond movie and I actually quite enjoy most of the Roger Moore era. Unfortunately for the case of Brosnan’s final outing, this movie really just feels like it’s trying to be something it’s not and it’s pretty depressing. Maybe it’s because I watched it at 8AM but this is one of the only Bond movies that puts me in a bad mood.

If I seem overly critical, just keep in mind I pretty much at least enjoy everything from 19-1. Let me know what you think!

After a chance encounter with a chap from Leeds, Yorkshire, who told me some tales of his personal experiences of Jimmy Savile, whilst he was in that city, haunted as it was by the world class paedophile, we discussed various aspects of the controversy around the man, and I was struck by something. Nothing in particular, but a perspective that suddenly explained the mysteries around this man.
For those not aware, Jimmy Savile was a very well known personality who in the UK was a household name and hosted a top hits music show and did many other ostentatious, publicity gathering stunts through the 1970's and 80's in particular, and just about into the 90's was still an active and major figure,with regular contact with British Prime Ministers, Prince Charles and others.
In the millennial years, Jimmy had started to lose his vigour and was in his retirement phase and the long held, but secretly expressed feeling about him started to rise up out of its (hired lawyers) induced silence.
Savile was no ordinary bloke. He wasn't even vaguely ordinary to other maximum security sex offenders who ought to have been his neighbours.
He carried himself as the countries top Eminence Grise, a power maker who operated above British politics. His sexual needs seem to have been for him a 'power food' for a person as great and wonderful as he was, as essential to his being as going out on a hunt.
It is obvious that his paedophilia was purely a gratification from control. He chose, from witness statements that were not acted upon, and were made at considerable personal risk at the time, females, but also males, and a large range of ages. He wasn't purely a paedophile, he was a man that wanted to rape everyone, depending upon the difficulty. He was an equal opportunities rapist, that lived with his mum.
He is also so often accused that he is overall credibly claimed to have been a necrophiliac from coworkers who knew him in hospitals that he routinely spent time at. So often, that the claims can't really be convincingly dismissed, and are on balance I am of the view probably true.
That's when I started to feel I should write down what I know of that man. Firstly, he grew up as a Catholic in a predominantly Jewish part of Leeds, a major English city. He has been described as the most Jewish Catholic their ever was.
I'm not saying, or putting this on the Jewish community, it's not like that at all.
Jimmy Savile not only held power over the British government, and was virtually equal to British royalty, perhaps actually or more so, but he held power over the Jewish world as well.
Perhaps not so well known is his power in Israel.
Here is a link to show that Jimmy held influence over the Israeli Government - I have included it in its entirety in case it disappears. You will have to scroll down aways.

Among the revelations, he describes meeting the president of Israel who invited him to address the country's cabinet in 1975.
He says that he was asked by Prince Charles to keep Sarah Ferguson, then married to Prince Andrew, out of trouble.
He also spent "11 consecutive Christmases at Chequers" with the Thatchers - or so he says.
Now one wonders whether Savile, at 81, is perhaps a being a little more Walter Mitty than Forrest Gump.
Can these eye-popping claims actually be substantiated?
We can all agree that he is utterly eccentric and unique (he sleeps in his tracksuits and still dry-cleans his mother's clothes, even though she died in 1973).
But is this man - a former wrestler, who has never married - also a man who has had his hand on the levers of power?
Take, for example, the friendships he says he has had with successive Prime Ministers.
He explains that his connections with Stoke Mandeville Hospital - a few miles from Chequers - have allowed him to form these relationships, and that his friendship with Margaret Thatcher was particularly cordial.
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Sir Jimmy offers to fix it for a giggly Princess Diana
"The hospital and Chequers are four miles apart and we are their neighbours," he said.
"We have a suite of rooms to take VIPs from Chequers. When Tony Blair had his heart trouble, this is where he came."
That much is true: it is a matter of record that Blair was admitted initially to Stoke Mandeville after suffering chest pains while staying in the Buckinghamshire retreat.
He was later treated in Hammersmith, West London.
And Savile does, indeed, have a suite at Stoke Mandeville Hospital.
Having raised millions of pounds to build the spinal injuries unit, he has the rare honour of rooms on the site.
A source at the hospital said that he spends many weeks of the year living at the hospital."Jimmy knows pretty much everybody by name, nurses, patients and doctors," he said. "He is here a lot, he sort of lives here."
It is possible, then, that he could have got to know his near-neighbours this way, as we know he spent an afternoon entertaining the wives of the G7 leaders back in 1991 at John Major's invitation.
But were he and Blair truly friends? He seems to have been invited to dinner only once by Tony Blair, on October 23, 1999.
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Sir Jimmy Savile and Prince Charles share a joke
When official lists of those entertained to dinner were released under the Freedom of Information Act, it emerged that Savile had dinner with Dame Judi Dench and Admiral Sir Michael Boyce (Chief of the Defence Staff), which is quite a combination.
No doubt it was a convivial evening, but a solitary invitation does not exactly look like confirmation of a strong friendship.
It was Margaret Thatcher, though, with whom he claims the deepest connection.
He told Esquire: "I knew the real woman and the real woman was something else. The times I spent up there [Chequers] - Denis, me and her, shoes off in front of the fire."
In another interview, he claimed he turned up at Chequers covered with Christmas decorations, including a bell, and the Iron Lady quipped: "You can ring my bell."
Another time, he wrote "In case of National Emergency phone Jimmy Savile" on every notepad in Chequers and added his number.
A friend of Thatcher said last week: "I do not know about every Christmas, but she remembers him being there for informal discussion. She remembers him fondly and thinks he was an interesting chap."
Bernard Ingham, Thatcher's press secretary, had much the same story to tell. "I know that they sometimes met, but I have no idea about 11 consecutive Christmases. I know that she was friends with him, yes, so I don't think he's completely barmy."
But Margaret's daughter, Carol, says that Savile was not a Christmas Day guest at Chequers, whatever has been said - and she ought to know.
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Sir Jimmy Savile and Gordon Brown
"Jimmy Savile never spent Christmas as such at Chequers, although he certainly showed up for the odd drink, and mum used to visit Stoke Mandeville Hospital," she said.
One wonders if there is an element of Sir Jimmy (he was knighted in 1990) blustering and charming his way into Chequers, perhaps at times without a formal invitation, and then burnishing the story afterwards.
Certainly, Dickie Arbiter, who was Prince Charles's press adviser when Savile was around, paints a picture of an unembarrassable man, fascinated by the rich and powerful, who was in the habit of simply inviting himself into their lives, offering unsolicited advice - and then regarding himself as a man of great influence as a result.
In fact, Arbiter describes Savile as a "nosey bugger", although he confirms that Savile was involved in the lives of the Royal Family as both Prince Andrew's and Prince Charles's marriages disintegrated.
There are several undeniable connections between Savile and royalty.
His role was mentioned by Diana, Princess of Wales, in the "Squidgygate" taped conversation she had with James Gilbey on New Year's Eve, 1989.
She was recorded saying: "Jimmy Savile rang me up yesterday, and he said: 'I'm just ringing up, my girl, to tell you that His Nibs [Charles] has asked me to come and help out the redhead [Ferguson]'."
Diana also describes Savile as a "sort of mentor" to Charles. In his latest interview, Savile says he was trying to lower Sarah Ferguson's profile.
"I was helping her not get publicity rather than to get publicity. To cool things down," he said.
"It was all part of my odd ways of going on."
Andrew Morton, Diana's biographer, said Savile's opinions had carried weight in both camps during the war of the Waleses because "he articulates opinions that courtiers can only think".
Certainly, Savile was among those invited to Princess Diana's funeral at Westminster Abbey in 1997, and since the guest list for that event was drawn from Diana's Christmas Card list, they must have been friends - whether she ever heeded his counsel.
It's a fascinating, unlikely association, and seems to have come about after Savile met Prince Charles through charity work, and basically charmed his way into the Prince's favour.
Dickie Arbiter said: "Yes, he was on the scene from around 1985 or 1986 until the end of the Eighties. He was a friend of Charles and he latched onto them both as only Jimmy knows how to do.
"He would roll up in one of his inimitable tracksuits, sometimes arriving by bicycle at St James's Palace, and he would stroll in as if he owned the place - which he probably did in a previous life.
"What he has said is a bit of an exaggeration. It is not right to say that he was an adviser. He was a bit of a nosey bugger, really. But he had the gift of the gab, people would talk to him and he would offer his opinion it was not that he was asked for advice.
"He would drop in from time to time. He was not a daily visitor or a frequent visitor. He was an infrequent visitor, although when he did come he was larger than life, as he always is. He would always make a joke. He was a kind of court jester, in the nicest possible way."
So why did this association end?
"I think it came to an end in the way that most of these royal associations do: they got bored with it," says Arbiter.
"There are a lot of strap-hangers who hang on and hang around, and eventually the strap breaks and they fall by the wayside. There has not been an association for years. That ended way, way back, I would say probably about 18 years ago."
Yet Savile says he still advises Prince Charles on charity issues and calls him the "nicest man you'll ever meet".
And a spokesman for Clarence House confirmed: "They do keep in touch, but I can't help you further than that."
His claim to have addressed the Israeli cabinet in 1975 at the invitation of President Ephraim Katzir also seems to be true - and to be the result of a similar amount of chutzpah on Sir Jimmy's part.
He recorded a Jim'll Fix It show in Israel in 1975.
Savile said: "I arrived at this reception and I was wearing a pinkish suit with short sleeves. When the president came to me, he asked how I was enjoying my visit to Israel.
"I said I was very disappointed: the Israelis had won the Six Day War but they had given back all the land, including the only oil well in the region, and were now paying the Egyptians more for oil than if they had bought it from Saudi Arabia.
"I said: 'You have forgotten to be Jewish'. He said: 'Would you like to tell my cabinet that?'
"Next morning, I went to the Knesset and they interrupted a cabinet meeting and I told them the same as I had told him."
Roger Ordish, Savile's BBC producer and co-creator of Jim'll Fix It, said: "I know he met the President when we were in Israel in 1975. And he did the same thing at Chequers with the Blairs as he did with the Thatchers.
"Jimmy has this strange authority without being a person in authority. He is definitely unique."
What is clear, then, is that far more of Savile's story is true than you might think.
Up to a point, anyway. Take, for instance, his assertion that he is the only existing civilian holder of the coveted Royal Marines Green Beret. He claims that he was given one after taking part in a training.
A Royal Navy spokesman explains: "What can happen is that celebrities are invited by local units to take part in training exercises, and then, if you succeed, they might say: 'Well done, now you are a Green Beret.'
"But you aren't really one. There is an element of truth in that he may have taken part in a training exercise, but it is not an honour that can be bestowed on you that is not within anyone's power."
Trevor Dann, director of the Radio Academy, has a similar grumble.
"I met Jimmy Savile a couple of years ago when he was inducted into the Radio Academy Hall of Fame. He turned up in the old tracksuit and bling, shook a few hands and told everyone that he had invented pop music, and then went off.
"He would talk a lot about being the first this or that. He had worked as a DJ at dance halls and said that he was the first person to play records for people to dance to. I guess that he would have been one of the first, but the first? I don't think so."
But who can begrudge this most eccentric Briton some mythmaking? He has risen from a poverty-stricken background as the youngest child in a family of seven in Leeds to become a man of considerable wealth.
He has five homes, none of them with a cooker, as he says he does not wish to share his life with a wife.
Nor does he regret being childless - he says that he lacks the paternal instinct.
And, while in interviews he is always at pains to stress that he has had many one-night stands, no one seems to have ever found a woman willing to admit to sleeping with him.
Tim Blackmore, who worked with him on Radio 1, offers the theory that he is simply not interested in sex.
"I went away with him all over the place, we would stay in hotels and so on, and not once did he ever express any kind of sexual interest in another person," he said.
For all this, he is a man who has spent much of his life and energy on helping others.
To date, he has raised some £40 million for charity. He paid for the spinal injuries unit at Stoke Mandeville and still bankrolls the hospital to the tune of £250,000 a year.
Some may find him creepy - his personal life is an eternal mystery - but the good works he has done are indisputable.
Tim Blackmore added: "One thing you can say about Jimmy is that myths about him abound. I would say with Jimmy he says a lot of outlandish things, but you have to be prepared to let him get away with some of the claims as they have at least a degree of truth about them.
"Also, he has an incredible ability to connect with groups of people, he is a wonderful motivator. I went with him to Stoke Mandeville and he told me we could not do the programme unless I went around the hospital.
"So we saw people with really appalling injuries and there he was, so natural, especially with the families. He had a gift of making people see the positives in the bleakest circumstances.
"Whatever you think of him, when he comes to the pearly gates, his scorecard is going to be pretty full."
And you can bet that Sir Jimmy, the flashiest eminence grise ever seen, will have some words of advice for St Peter when he gets there.
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Ahh, so just that we record that for posterity.

Jimmy Savile operated between and sometimes above British departments and Ministers, and was at least equal to British Prime Ministers in access to foreign states. What is bizarre, is that the Jewish state at that time, after WW2 and the then recent war, when it should have been especially paranoid for its own sake, would let such a guy near them. They have Mossad to protect them FFS, but Jimmy still got through.
That's a big pause for thought, don't you think?
One story related to me, which he could not verify, was that Jimmy chaired some meeting at Chequers, where the government of Britain retreats for various discussions, and Tony Blair was present, and he dared not say anything out of fear of Jimmy Savile.
As jimmy waned, another force took over British politics. Margeret Thatcher was polarising, but as honest and true to her beliefs as any politician who ever lived, perhaps to her supporters as how Ron Paul is to the Libertarians. But she was close to Saville, and later after John Major, came this new force just prior to 9-11.
This new force was to emerge as 'New Labour'. It started out as a magically universal alternative to normal left wing politics, somehow both left and right, which was especially attractive as an alternative to the hard politics and principles of Thatcher, but more so a reaction to the crony's around her who were disliked by the wider population. New Labour was clean, socialist and left leaning. But then suddenly we discovered it was hard Neo Liberal, with an absolute hard on for war. It was convincingly the moral and the 'nice' face of war, and it was there on day one as the right hand side of Bush, or should I say, the Left hand side of the Republican Neo-Cons.
And it was the British Neo-'Left' that was first out supporting invasion of Iraq.
At that time, Tony Blair was the true world statesman. He was far more hypnotic than George Bush. And in his government a figure existed who had the ability to float between government departments and was widely recognised as 'the Boss'. The British satirical publication Private Eye published a cartoon, in it a man sits at a desk with the sign 'You don't have to be Peter Mandelson to work here, but it helps'. It was meant to say that Peter Mandelson worked everywhere, appointed himself as head of the place, and was treated as such all over the Civil Service. It was true and in a certain fashion, it is similar to Jimmy Savile.
Peter Mandelson wouldn't even get a mention here, if it wasn't for the time when he denied being a part of the Bildebergers to a BBC researcher creating a series critical of conspiracy theories (those whack jobs have no evidence type of argument), then was filmed sitting in a coach heading to the gates of the place they heard was the venue for that years global secret meeting. He said he was in some other country. Yes, a guy committed to disproving conspiracies theories, proved they do exist at some level. Oh, he also mentioned that they 'don't need to kill anyone anymore', or to that effect. He was saying they did not have to kill people, to get things done. More efficient ways, presumably, or just not worth the effort, we normally give in anyhow.
My point is, there is always someone who can operate openly between different spheres of British politics and as well internationally, all at once, always weaving things together behind the curtain, in front of it, when needed, but behind it more than suspected. Always one such super-sweeper on the football pitch, given extraordinary freedom to move around all the corridors and is widely feared. A spider, if you will. A big fucking spider, so powerful you know it is there, but dare not believe it is.
Now, just to be clear, I'm going to go on a totally different topic.
Tony Blair has been claimed was arrested for public indecency, and is a park-flasher style exhibitionist. This information has been suppressed but known by Police and other authorities before he became British Prime Minister.
Operation Ore - 3 newspapers, including one nationally famous newspaper, reported being in possession of explosive information from Operation Ore run by American intelligence, whose complete list of British paedophile suspects was seen by several British newspapers during Prime Minister Blair's leadership, which showed at least one top Government Minister under and close to Blair had been paying with their credit card for child pornography. All the details absolutely were made secret under a D Notice, a little known extreme power of censorship that completely obliterates any and all press reporting. D Notices are very rarely requested by governments in peace time, it is actually unheard of. The only time it is known to have happened in decades is in relation to paedophilia.
https://www.whatdotheyknow.com/request/the_home_office_cover_up_of_the
So after all this, was Jimmy Saville a General of a religious order, say the Jesuits or some other group? It would suddenly all make sense then. After all, Savile lived a life of outward celibacy and did not marry. He was extremely, almost supernaturally motivated, and connected at the top of world politics.
Did he really work alone?

Hey folks! While this is the last of the film reviews for the James Bond franchise, I will be posting a series recap in the near future that will include some fun stuff like my subjective ranking of the films (as opposed to these which I have tried to keep relatively objective), the Bond actors, the villains, and the Bond girls. Until then, please enjoy my review of Spectre!

SPECTRE (2015)

Overall Impression (No spoilers)

I’ll begin with my overview for those that just want a quick summary without getting into potential spoilers.

Let it be known up front that Spectre is not a bad film. It is technically proficient in nearly every way, it has moments of amusing dialogue, and it knows all the right beats that it needs to hit when it comes to the action sequences. That said, it film will undoubtedly go down as the biggest wastes of potential in the entire 007 franchise. Spectre sets up several fantastic storylines and characters, including covert Illuminati-esque organizations, worldwide surveillance, a brilliant psychologist with a tortured past, and of course the exceptional Christoph Waltz. And sadly the film squanders each and every one of them. These fascinating storylines are set up and more or less abandoned almost instantly. New and exotic locations are rushed through in an effort to simply get to the next one — which is ultimately rushed through in order to get to the next one, and so on. And sadly, Waltz is criminally underused. Every last ounce of charisma is zapped from him. It’s not that he’s just cold, quiet, and sinister or brooding and subtle. On the contrary, Waltz is just flat out dull. He is among the most boring Bond characters of all time — a fact that is doubly as frustrating considering we know what he is capable of.

All in all, this is a film that works to ensure that a sufficient number of the traditional Bond traditions are fulfilled and does so dutifully. It even manages to recover Bond’s MIA humorous side. But sadly this is not enough to redeem an at-times-exciting but ultimately hollow and frustrating Spectre.

Story (SPOILERS)

Daniel Craig has had the unique experience of being the first actor to cover such ground as Bond's initiation into the 00 program, his lust for revenge (I'm not going to count the opening of Diamonds Are Forever because frankly that sequence should never be recounted for any reason, period), his loyalty toward his superiors, and so on. Most notably, we've received a healthy dose of James Bond: The Human Being. Casino Royale was a triumph in its ability to show that 007 can have intellectual and emotional conversations that are relatable and meaningful.

Unfortunately, in a world where the origin story has become a convenient route to explore human emotion, the writers (Purvis, Wade, and Logan return, alongside newcomer Butterworth) seem hellbent on scraping that barrel clean. The ten minute discussion between Bond and Vesper on the train in Casino was all I ever needed to know about James Bond and his history. I was rather dismayed when Skyfall felt the need to bring us to his childhood home and, needless to say, I was further disappointed when Spectre decided to take it a step further. The latest film in the 007 franchise inadvertently pays homage to the very series that had satirized the Bond series to begin with (is that confusing enough for you?) by pulling a Goldmember and revealing that James himself shares a childhood history with this newfound archenemy. That's right. Spectre stoops down to the same plot line that every soap opera inevitably hits at some point.

If Spectre is guilty of anything, it is of squandering an immense amount of potential. I positively love the idea of 007 uncovering something as unnerving as a mysterious organization in the vein of the Illuminati. To see such an eerie concept played out right, you need look no further than a film like Kubrick's Eyes Wide Shut. Rather than drawing out this realization out, instilling a sense of paranoia, and making our skin crawl, Bond simply drops in on the meeting after a little bit of recon and then things get all action-y. Thus there is no unnerving moment of frightened when we see just how far reaching this organization really is. There has been no greater point of frustration with Bond fans than the wasted potential of Christoph Waltz. The man who exploded onto the scene in 2009, winning Oscars for consecutive appearances in Tarantino films falls flat on his face here. There is no charisma, there is no intimidation, there is no creepiness, there is nothing. It pains me greatly to say this since I thought I had died and gone to heaven when it was first announced that he would be playing a Bond villain… but Christoph Waltz's Blofeld is one of the most dull Bond villains of all time.

Sadly the film does the exact same for its leading lady, Lea Seydoux. Presenting the audience with another independent and interesting female character, the film ultimately lets her fizzle out by restraining her to the familiar trappings of the tag-along-girlfriend-turned-damsel-in-distress. More than that, however, I was most frustrated by the lack of usage of her psychological background. This is a woman who has presumably studied the intricacies of the human psyche and here she is, paired with a paid assassin with a horrific past. And we get nothing from that. Instead, we get one of the most perplexing confessions of love between two people who met... like... two days prior?

Now it's not all bad. Spectre does has many things that diehard Bond fans will thoroughly enjoy (because let's be honest, Spectre is not by any stretch of the imagination the first Bond film to have a weak story). Dave Bautista's Mr. Hinx is a perfect throwback to the old OddJob style henchmen. The snowcapped mountainside chase scene and train fight scene fit perfectly into the 007 mold. Craig even managed to get a touch of humor back. Watching a drunken Bond playfully interrogating a mouse had to be one of the most memorable scenes from the series.

Look and Sound

While the story is underwhelming in just about every way, the visuals are in the same ballpark as the rest of Craig's outings. While not reaching the astonishing heights set by Casino or Skyfall, the cinematography, production design, and stunts are all still among the best in the series.

Thomas Newman's score was decent. I appreciate the increase in usage of the Bond theme, however it did, at times, feel like he was leaning on it rather heavily. Unfortunately this is all overshadowed by the fact that Sam Smith's "Writing's on the Wall" has got to be one of the worst songs ever recorded for a 007 film. I mean… it's not as bad as those lousy '80s ballads during the Moore years, nor is it as bad as Madonna's… well whatever that was for Die Another Day, but it's right down there. The song is dull and Smith's vocals feel entirely out of place when compared to the best singers of the series. This is all especially frustrating as we come off of Adele's performance in Skyfall, which I believe to be one of the best of the franchise.

Callbacks, Recurrences, and Tropes

One of the immediately noticeable returns to tradition is the opening gun barrel scene, which has been restored to the beginning of the film. This transitions into a cold open, title sequence, and theme song, per usual.

As Spectre is very much a continuation of Daniel Craig's story, there are many (heavy-handed) recurring narrative threads and characters. Ralph Fiennes returns as M; Naomi Harris, Ben Whishaw, and Rory Kinnear all return as Moneypenny, Q, and Chief of Staff Bill Tanner, respectively; Jesper Christiansen reprises his role as Mr. White after an absence in Skyfall. There are numerous references to previous villains and events in Craig's canon. Judi Dench makes a cameo in a recording as M and there are plenty of images and references to Le Chiffre, Dominic Greene, and Raoul Silva.

Spectre ratchets up the gadgets a bit, though we're still quite a ways away from where the series once was. On top of that, we also have a car chase, train fight, and countdown. Bond also has opportunities to utter both of his iconic phrases.

Quick Hits

Category	Score	Note
Writing	5	The surveillance angle is topical, but needed to be fleshed out further. Blofeld was completely underwritten and never felt truly menacing.
Directing	7	Brilliant behind the camera but failed at pulling the best from his actors.
Acting	7	Craig was good but not nearly as lively as he was way back in Casino. Fiennes, Whishaw, and Harris all did well. Waltz was severely disappointing.
Cinematography	9	Hoytema did a spectacular job, crafting a couple of scenes that I suspect will land among the most iconic of the series.
Production Design	9	Some fantastic sets that were very reminiscent of the old Ken Adam school of thought.
Score	6	An okay score that relied heavily on the 007 theme. Points dramatically lost on account of Smith's "Writing's on the Wall".
Editing	7	Each location is raced through so quickly that the film doesn't feel as long as its 2.5 hr runtime, however we don't sit in any one place long enough to appreciate them.
Effects	8	Great effect work (though I did find myself pulled out of the helicopter scene on certain green screen shots) with some of the best stunts we've seen to date.
Costumes	9	Marvelous blend of retro and modern.
Personal Score	6

Score - 73 / 100

Film	Score
Casino Royale	94
GoldenEye	86
Skyfall	86
Goldfinger	85
On Her Majesty's Secret Service	82
The Spy Who Loved Me	80
The World is Not Enough	79
From Russia With Love	76
The Living Daylights	75
You Only Live Twice	73
Spectre	73
License to Kill	72
Dr. No	70
The Man with the Golden Gun	68
Quantum of Solace	68
Tomorrow Never Dies	68
Live and Let Die	66
Thunderball	61
A View to a Kill	59
Moonraker	59
For Your Eyes Only	55
Octopussy	48
Diamonds Are Forever	37
Die Another Day	30

So what do you folks think? How does Spectre fare in your opinion?

Okay, I've been making blogs for awhile and this is my review for Spectre. If you want to read the review on the blog it's here. If you want to visit the blog, it's here. Here's the review:
This week I took a stroll into one of Belfast’s cinemas. I won’t say it’s name for legal reasons so we shall call it Nodeon.
A small popcorn and coke set me back £3.20 and the popcorn tasted like recyled cardboard. On the brightside, the staff were friendly and the comfy seats were a pleasure for the anus.
We had to walk through a crowd of viewers for the previous Spectre screening, all wearing black ties. I would make some joke about their pomposity but the ties probably signalled they were out to raise money for charities which makes them pretty much immune to ridicule.
Finally I got to watch everyone’s favourite STD laden spy return and boy was it average.
The movie opens with the Day of the Dead festival. Bond promptly seduces a women before stepping out her bedroom window and creating an international shitstorm. He runs in through the floats and displays (probably getting photographed a million times) before jumping into a helicopter to fight some baddies. Bond, in a showing of true idiocy attacks both the pilot and the passenger. Only luck saves the lives of Bond and the defenceless crowd from helicopter rotor based decapitation and possibly death. I found myself wondering how many hits on youtube Bond was getting and if his enemies ever paid attention to viral videos.
I’m usually a fan of Bond’s opening credits but Spectre’s tentacle porn display backed by Sam Smith’s subpar track left me less than inspired.
Q (Ben Whishaw), Moneypenny (Naomie Harris) and M(Ralph Fiennes) return from Bond’s previous outings along with a brief cameo from Judi Dench’s M.
Andrew Scott arrives to play the role of C, a rival to M. C believes the double 00 program to be an anachronism in an age of information wars. He intends to win this war by sharing the information on UK citizens with the rest of the world. C comes across as a clear villain from the minute he steps onto screen. His plans are played off as something big that requires legislation to facilitate it but the GCHQ has been sharing UK data with international spy agencies for rather a long time in real life.
New femme-fatales bolster Spectre’s lineup.
Lea Seydoux takes on the role of Madeleine Swann, daughter to Mr White, who appeared in Casino Royale and Quantum of Solace.
Monica Belluci (the new oldest bond girl) has approximately 2 minutes of screen time. She talked about being a “bond lady” rather than a “bond girl” which is awkward because essentially all she does is get saved by Bond. Then he pushes her against a surprisingly robust mirror where she promptly strips and gives him another clue in the treasure hunt. He rewards her with the sex. Belluci’s characters begs Bond for help but he just leaves her with a telephone number for an American embassy. Good thing for her, the organisation out to kill her doesn’t have a wide reach or anything…
Dave Baptista turns up as the muscle man baddie that Bond has to beat this time round but doesn’t really give us any memorable action set pieces.
If you are starting to get a feeling that this Bond movie is sticking heavily to the classic script then you’d be dead right. Every standard Bond scenario is included. Every scene feels meticulously planned in all the wrong ways. It feels like spontaneity is dead. No moments stand out as individually interesting. It uncludes the Bond standards; the sponsored car, the effervescent horny women, the Evil McEvil villain. When Casino Royale came into town it felt dark and intriguing, now it’s like the lights have been turned on and we can see that nothing has changed from the Brosnan days.
In Spectre, Bond continuously overcomes odds which he stacks against himself through stupidity and the hunger to be a lone wolf. The real life M15 even commented on how Bond is unlike their real life agents:
they are perhaps more ordinary than perhaps is described in fiction Bond displays an almost fanatical lack of self preservation, strolling into obvious traps throughout the movie. At one point the movie’s villain, Franz (acted by Christoph Waltz) even comments on this. Bond soon finds himself in a new torture chair. The scene lacks the grit of the ropey, testical slapping antics of Casino Royale. As a side note, whoever has been creating the hand restraints for torture devices in the bond universe needs to be fired.
The eponymous villain organisation, Spectre takes the stage for the first time in the Daniel Craig Bond movies although Franz would have you believe Spectre has had a part in all of the previous Craig movies. Franz boasts that he is the author of all of Bond’s pain but the link to Bond’s history feels forced at best, downright cliched at worst.
References to characters from the previous movies are shoehorned in to try and back up Spectre’s supposed scope but that just opens up plotholes. Raol Silva was part of the Spectre plot? What? Why? How? It makes no sense at all. In fairness little of Skyfall’s plot makes sense if you stop to think about it but the slick pacing distracts you. Spectre sputters between action sequences and boring exposition so you notice every little plothole.
Craig’s Bond followed the path shown by Bourne. Audiences wanted a more visceral realistic Bond and the studios were more than happy to provide. More and more of the modern action movies are action-comedies and Bond directors don’t seem to know whether to follow suit or not. Worse still the dark realistic violence of the reborn Bond universe has to be kept separate from the comedy scenes lest it fall into the region of dark humour, so abhorred by mainstream audiences. Spectre feels trapped in the swirling trends of modern cinema and in an odd way, the characters and their actors feel lost at sea too.
Bond has overcome being the “old dog” in Skyfall only to have to fight the same fight in the new movie. If Craig stays presumably this will be a theme in the next one.
Lea Seydoux, is a fine actress and when they give her the space to build the character of Madeleine Swann she does with aplomb. This doesn’t last long however. Soon they need her dish out some needed plot points and fall in line with the pre-destined Bond-girl role. It’s painful to watch. She is wasted on this role.
The Bond B team with Q, Moneypenny and M running around London seems odd. Doesn’t M have any loyal agents? 009 is mentioned, can’t M bring him in on this?
Andrew Scott’s C and Christophe Waltz’s Franz end up feeling like inferior simulacra of the villains they played on other mediums.
At this point in the review it probably seems like I’m railing on the movie and that’s unfair. The movie never really becomes bad, it’s just inferior.
The building collapse scene wasn’t as good as Casino Royale. The car chase isn’t as good as Quantum of Solice. And the train fight isn’t as good as Skyfall. Spectre is easily the most mediocre of Craig’s movies. The action scenes and plot points feel like they are placed there to fill out the Bond checklist rather than because they belong organically to the movie. Whilst Spectre is a perfectly watchable action movie don’t expect it to be memorable, because it isn’t.

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Date: 2015-11-05
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Questions	Answers
Aside from Andy’s surgery, can you give us more insights on what will happen in the thanksgiving episode?	James: I think there's a road rage incident that tests Sharon's ability to see past the surface and understand the darker motives of the human heart. And consider all the things that could be said that are not said. And how that impacts her final scene with Andy in that episode.
	Mary: Well you know it's the tricky part for me is that I can never remember the episode until someone stimulates it like you've just done! I do remember that final scene and I do remember Sharon having that very human dilemma of not being able to complete something in the way she would like it to have been completed. It's an imperfect world is what I remember feeling at the end of that episode.
	James: The accident Flynn has thrusts Sharon and Andy into a closer proximity faster than they were prepared to be put there. And Sharon is trying to manage that by doing right by Andy and keeping the relationship on a steady pace and it's a lot. To keep your heart and keep your distance at the same time is very complicated.
	Mary: You read something that James wrote and I'll often have the questions, "What is Sharon thinking? Should I call James and have him tell me?" James always knows if you ask him, but the more you trust the writing, the dramatization, it's set up beautifully.
	Often when the scene is over I go, "OH, that's what this is about!"
James - With Rusty's transfer to UCLA coming up. Could this be an opportunity to look at a possible move into a dorm for him? I love this character - and I would love to see what being on his own, with all that Sharon (and the others) have taught him would look like. Will we get to see how he takes those lessons and applies them as he steps into adulthood?	James: Sharon and Rusty are not going to stop living together. It's very expensive to live in a dorm. I know because I paid for someone to live in a dorm at UCLA just last year. So, the benefits of living at home and going to college are too enormous to overlook.
	However, you are going to see Rusty growing into adult relationships. And Sharon is going to be an ongoing part of his maturation process.
	Mary: I love the compatibility of young adults with parental figures and there's a whole new energy that could emerge in those years. You end up experiencing each other side by side instead of in a meshed independent way. I am looking forward to understanding Rusty as an adult from more of a distance than Sharon has been able to view him. They're very compatible, Sharon and Rusty.
To Mary: What's the most important lesson that you learned from Sharon Raydor?	Mary: She's taught me an awful lot. But, she's required me to kind of bump up against the part of Mary that gets explored through Sharon - she has a hard time letting go and sort of letting change occur. She's taught me a lot about trusting forward movement and letting go of things that seem unsafe.
	James: I think that's exactly right because in her old job, Sharon has responsibilities that required her to order people around in a 'I don't care what you think about it way.' Her new job is more of a listening role. She's there to assemble the information and create a strategy.
	Fortunately she developed a very thick skin.
Hi James - I was wondering if the experience you've had with the fans has changed between The Closer and Major Crimes, and in what ways?	James: The fans of Major Crimes are much closer to the show and much closer to us and much more involved in an immersive way than they were with The Closer. People have embraced the entirety of the show and that has made a huge difference in my own personal relationship with viewers. And Mary has such a centered view of where she stands inside all this that I feel like she offers the audience the kind of stability they wish they had in life. And that center I think has become a gravitational force for our show.
	Mary: It's really great going from the villain to the hero! People now like to see me :-).
Why does Rusty seem so hesitant when it comes to Sharon and Andy’s relationship ? He seemed quite supportive of them last winter, and it’s obvious that Andy isn’t like the other guys his biological mother dated.	James: I would say that the pattern in which Rusty grew up included violence and abuse whenever another adult male was entered into his domestic situation. And the pattern creates issues. The pattern supersedes our intelligent observations because it's not connected to the thinking part of the brain and he's reacting to the pattern. He's unconsciously unable not to react to the pattern. This is true in terms of his psychology. It's an instinctive response, not a thoughtful one.
	The truth is he does like Andy and he does want Sharon and Andy to be happy, but he has an instinctual issue that he can't quite control.
A question for both of you – Do you think Jack still loves Sharon? Or did his love for her die down many years ago and he's just manipulated her all these years out of need to feed his addictions?	James: I think he loved Sharon very much, but didn't know how to handle the responsibilities of a spouse and eventually his faults overwhelmed his virtues in the eyes of his wife.
	Mary: My impression of their past is that these people fell very deeply in love. When Jack's addictions became bigger than Jack, the love doesn't die when you're in love with someone who's addicted, you just have to steer yourself out of dealing with it because you're risking your life. You're risking your soul.
	James: And there couldn't be so much anger if there wasn't a lot of love.
Question for both of you: Can you tell us some more info about the five-parter without giving away too much? Totally excited about this :D	James: A new crime involving heroin, other drugs, gangs, the lower response time to live fire incidents, and a missing Uzi link Major Crimes back to a series of murders from 12 years ago involving the death of a LAPD officer that was never solved. Rushing to make an arrest before a gang war can start, Sharon confronts the most complicated case of her career.
	Finding out you have five more episodes before breaking, there was a mixture of cheers and tears in the writers room because we were all getting ready to take some time off!
Mary, You've been so kind and generous with fans lately and for that I want to thank you. What is your favorite part of interacting with us?	Mary: I think my favorite part of interacting with the fans is that I learn a lot about how our show is doing, but also I learn about what the fans are interested in and it's kind of given me an insight that puts all the work into a different point of view.
	Prior to these years, the last thing you ever did was communicate with fans. We were kept in a bubble.
	I feel more interested in the relevance of the material that we are doing. You get instant feedback on it. I find it fun and stimulating.
	Thank you, Ilona - we love you!
Hi Mary! What is your favorite play that you have performed in?	Mary: I just absolutely adored an experience I had recently doing Chekhov's The Cherry Orchard.
	I think out of all the plays I have done... I was in a production of a Midsummer Night's Dream, directed by David Chambers. There was a pool on stage and when the lovers were chasing each other through the forest, people were diving into the pool and disappearing. It was a highlight of my theatrical career!
Happy Guy Fawkes from London! My question is for both of you; what are your favourite art galleries and / or museums in the USA or around the world?	James: I love the Louvre, the Metropolitan in NY and the Getty in LA.
	Mary: I love the Louvre, I love the Getty and I love the Museum of Natural History in New York.
	James: I also love the Van Gogh Museum in Amsterdam. I love the Picasso museum in Paris.
	Mary: The Rodin Museum in Paris.
	James: AND the Cloisters in New York. AND Musée de Cluny in Paris.
	Unfortunately neither Mary nor James have ever been to Florence :-(.
Is there a legend that either of you would love to work with, that you haven't had the chance to yet?	James: I have three names. Matt Damon, who I think is one of the most amazing actors working today. Eddie Redmayne, who is so perfect for so many different things. And Judi Dench. I would like to work with Judi just to meet her. There are so many people though!
	Mary: I really want to work with Robert De Niro! I would love to work with his energy before I'm too old to do any of it :-).
Dear Mary and James, do you have any projects you would like to do when you aren't filming Major Crimes?	James: Yes, I have a feature film adaptation of a play I would like to do. Not my own play, someone else's play. We're negotiating for the rights to do that right now!
	Mary: I am in the process of developing a screenplay with two gentlemen I met through a wonderful film that I am beginning to help with at this point and hoping to produce.
Hi Mary. Is there an adjustment on how you portray sharon raydor now that she is finally in a relationship with andy? :)	Mary: The adjustment is simply that she has had to expand the way she thinks about her response to daily life. In other words, before she opened her heart to Andy the job was the job. She has to sort of check herself to stay clear-minded about it. It is an adjustment, indeed. I don't know that she is always aware of it, but I have noticed it.
Dear Mary and James, It seems like a lot of the stories you've both told are those of growing up and coming into one's self. What advice do you have for young people- college age or so- who are still trying to figure that out?	James: The two things I would say, as a writer, who worked very hard for a very long time before I got to where I wanted to be is that persistence and discipline are the bulwark of any project and there is no substitute for pursuing your work with industry.
	Mary: Lean into things that people tell you are too challenging. If you don't play it safe, you'll find a lot of joy.
To James: Do you have some ritual to turn on your creative process of writting? How do you process all your ideas about the characters?	James: I can't wait for my creative juices to start flowing. I write for a living. Inspiration is helpful, but I can't afford to wait for it. For material I usually look for things I don't like about myself, so I never run out of something to write about.
Hi both of you! Thanks for this. Will we see Emily and Ricky Raydor again this season?	James: Unfortunately, no because we don't get all the way to Christmas this year on our Fall order. So we will look for them again next season.

Last updated: 2015-11-05 21:13 UTC | Next update: 2015-11-05 22:13 UTC
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