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Inside this week | A winter of content at the cinema

January 6, 2014

by Ben Hamilton

It’s difficult to add much to our reviews of the year (see the website for overviews of the events, concerts and films that have grabbed our interest in 2013), so apologies for the following, but as winter sets in, I like to take solace in how it is perfectly timed for Oscar season and trips to the cinema.
While films like Alfonso Cuarón’s Gravity (betting odds: 7/2), Paul Greengrass’s Captain Phillips (20s), Woody Allen’s Blue Jasmine (40s), Stephen Frears’s Philomena (100s) and Ridley Scott’s The Counselor (25s) – how did that happen?; we gave it one star – are already out, there are a wave of movies coming out over the next three months, so in a very particular order, here’s what you can look forward to.

In January, we have Martin Scorsese’s finance caper The Wolf of Wall Street (25s, Jan 9), the biopic Mandela: Long Walk to Freedom (25s, Jan 23) and stylish crime drama American Hustle (6s, Jan 23), which is directed by David O Russell (Silver Linings Playbook).

In February, we have AIDS drama The Dallas Buyers Club (50s, Feb 6), Alexander Payne’s Nebraska (100s, Feb 13), Steve McQueen’s Oscar favourite 12 Years a Slave (11/10, Feb 20), gritty crime drama Out of the Furnace (25s, Feb 20) by Scott Cooper (Crazy Heart), offbeat romcom Her (40s, Feb 27) by Spike Jonze (Being John Malkovich), and George Clooney’s war heist film The Monuments Men (50s, Feb 27).

In March, we have the Coen Brothers’ Inside Llewyn Davies (100s, March 6), which is a tribute to the 1961 Greenwich Village folk scene, Mary Poppins genesis film Saving Mr Banks (20s, March 13), and sailing survival epic All is Lost (50s, March 6) by JC Chandor (Margin Call), which has a cast of just one. Fortunately that one is Robert Redford.   

And finally, in June, we have Labor Day (40s, June 19) from Jason Reitman (Up in the Air).

And those, ladies and gents, are the contenders for the Oscars, and some of the contenders for you to patronise this winter, but hopefully not in the same way that I’ve patronised some of you by guessing which directors you’ll know and which you won’t.    


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