Frank Capra called the Oscars “the most valuable, but least expensive, item of world-wide public relations ever invented by any industry”. They are, like it or not, the film awards against which all others are judged - even to the point that other countries’ film awards are scheduled in relation to the ceremony. Despite being the accepted mark of excellence, the Oscars are not a meritocracy. The choice of one art work/film product over another is, necessarily, irrational and Oscars' critics often say AMPAS members are too old and out of touch to cast such important votes.

Whether Lincoln can pip frontrunner Argo to this year's Best Picture gong is in the hands of the Academy, but its 12 nominations are a notable achievement in director Steven Spielberg's extraordinary career. It's sometimes been easy to dismiss Spielberg as a sentimentalist, an entertainer first and an artist second but his films are pure cinema, and for every work of groundbreaking spectacle he's delivered something equally as thought-provoking.

An intriguing aspect of this year’s battle for Oscar was the early assurance with which pundits placed Lincoln as their favourite for best film. Steven Spielberg's frontrunner merits recognition; what surprises is that no one has noted the significance if it were actually to win. For despite Hollywood’s long history of fine political films, in over 80 years only one has ever won the prize.

A week from now he could be the all-time Oscar king. If Daniel Day-Lewis’s performance in Lincoln wins him a third Best Actor award, it will send him clear of a thoroughbred field of nine past double-winners, Jack Nicholson, Spencer Tracy and Dustin Hoffman among them. Those other nine were all American. Uniquely for an Englishman, Day-Lewis isn’t politely respected in Hollywood for his theatrical technique, but matches the screen intensity and exhaustive Method of Brando and De Niro.

Presented a clear fortnight ahead of the Oscars, while the BAFTAs might have little, if any, bearing on the decision making there, they at least provide an opportunity for the Brits to have a go at the glitz and glamour before award fatigue sets in. With treacherous weather an inauspicious portent, how the night would go was anyone's guess - for, as the ceremony began, only Daniel Day-Lewis and Anne Hathaway were clear favourites in their respective categories.

Both on screen and off, Montgomery Clift was sensitive, hesitant, introspective, self-destructive and often tortured. A personality that expressed itself on film as if afraid of what the camera would reveal. There were at least three faces of Clift. The early public one of the dark, romantic, handsome star of the fan magazines; the face of extraordinary beauty marred after a car accident in 1956, and the private face of drink, drugs and a series of unloving homosexual encounters.

Often it takes a generation or two before a country can address its dark days on films; Hitler didn’t feature in a central role in a German film until Downfall, in 2004. This timorousness was certainly the case in Chile, where in the immediate years following the end of General Pinochet’s dictatorship, in 1990, the local cinema was dominated by sex comedies.

Proving that laughter is the only sure-fire cure for the January blues, this year's London Comedy Film Festival took place over four days from Thursday 24^th to Sunday 27^th January. Known commonly and affectionately as LOCO, it once again showcased the best of comedy filmmaking from around the world, lined-up alongside a range of imaginative events - a programme seemingly designed to give the most depressing month of the year a well deserved kick up the arse.

As promised, he's back. Arnold Schwarzenegger's last major movie appearance was in 2003's Teminator 3: Rise of the Machines, probably the worst of the Terminators but a lucrative one nonetheless. Since then he has popped up in a few cameo roles including an appearance as Prince Hapi in the Jackie Chan/Steve Coogan remake of Around the World in 80 Days, but from 2003-2011, he was mostly preoccupied with being governor of California. And handling a few personal issues of course, which led to him separating from his wife Maria Shriver in 2011.

Michael Winner was always proud to call himself a film director but his filmography is notably short of quality moments. The likes of I'll Never Forget What's'isname and Hannibal Brooks in the 1960s, pointless remakes of The Big Sleep and The Wicked Lady, a questionable foray into theatrical adaptation with A Chorus of Disapproval, Lia Williams' reluctant turn as a vengeful killer in Dirty Weekend or his last film Parting Shots - these will not be remembered fondly (or even at all).