Posts in Editorial
EDITORIAL: Make yourself a better Oscar predictor

Here on Every Movie Has a Lesson, I have fashioned myself as an informed individual when it comes to predicting the winners of the Academy Awards.  My role as a critic has me in tune with the films of the season and my eyes on the industry has me seeing the trends. My annual claim has been “stick with me and I will help you win your Oscar pool.”  Many friends has backed my picks and come out winners. I wanted to peel back the curtain and show you how I do it. There are four areas to scout.

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COLUMN: The 10 Best Films of 2018

If this teacher/critic learned anything himself this year it’s to more consistently define the difference between “favorite” and “best.” Often they are different measures, yet it is a special distinction when some films can be both. That’s a whole bunch of those of this definitive 2018 list. All ten and a few extra were no-doubt five-star films for me. True to this website’s specialty, each film will be paired with its best life lesson. Enjoy!

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COLUMN: Who should win/will win the 2019 Golden Globe film awards?

The 76th annual Golden Globe Awards are this Sunday. This film critic has shuffled the cards and read the tea leaves to lay down some confident (or maybe sure-to-go-wrong) picks of who should win the movie award categories and who will actually be hearing their name and walking to the stage as the true winners. Enjoy and come back Sunday to keep score!

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COLUMN: New Year's Resolutions for the Movie Industry for 2019

Plenty of regular everyday people make New Year's Resolutions, but I think bigger entities, namely movie makers and movie moguls, need to make them too.  Annually, including this eighth edition, have fun taking the movie industry to task for things they need to change. As always, some resolutions come true while others get mentioned and reiterated every year. Enjoy this year’s hopes and dreams.

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20 YEAR RETROSPECTIVE: The best of the rest of 1998

Alright, I’ve spelled out my absolute “10 best” from 1998 in the previous post.  It’s time to take the press badge off and get casual.  Here are more categories of distinction and remembrance from 1998. Guess what? You still don’t see The Thin Red Line.  That’s too bad.  In the completely opposite direction, I was so very close to putting Wild Things in my Top 10 for 1998. Read on for more!

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20 YEAR RETROSPECTIVE: The 10 Best Films of 1998

In an annual series, Every Movie Has a Lesson is going to look back twenty years to revisit, relearn, and reexamine a year of cinema history to share favorites, lists, and experiences from the films of that year. When measuring back as far as twenty years or more, I feel like “favorites” that have stood the test of time have aged to become some level of “best.” I feel like a bunch of those populate my reflective look back at the best of 1998.

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INFOGRAPHIC: When will we see the futuristic cars from our favorite entertainment?

To work this out, the fine folks at Leasing Options looked at each futuristic aspect of these cars and found the best prediction as to when they will be commercially available. Obviously, not every feature of the fictional car will be practical, desirable or even legal. So, we’ve focused on the car’s most important features and figured out when they might be available.

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INFOGRAPHIC: The Biggest Movie Star Missteps

This series of infographics reveals the costliest decisions ever made by some of Hollywood's most famous film stars when it came to turning down iconic roles. Sometimes, the choices made by actors when deciding which roles to take up and which to turn down are based on no more than when picking red or black on one of the online blackjack tables at Betway Insider. They can't predict the future, after all. But, while all the people on the list below have continue to enjoy successful careers on the silver screen, they must surely still kick themselves at these costly calls. Here are the biggest financial missteps made by some of Hollywood's biggest stars:

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EDITORIAL: Clarifying "subjective" versus "objective" in film criticism

The duel between objective and subjective is a gray area of thinking that doesn’t have a black-and-white answer of right or wrong.  It is more of a sliding scale between prudent and careless presentation of facts and opinions.  Too often lately, I hear or read people, both professional and amateur in background mind you, put the -ly ending on either of those two terms to create what they think is an adverb of defense to strengthen some silly descriptive point of “good” or “bad” they are trying to make about a movie.

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