Movies Watched 2017

As is tradition. Just don’t ask me why I started my year with Assassin’s Creed.

  1. Assassin’s Creed (2016)
  2. Silence (2016)
  3. La La Land (2016)
  4. T2 Trainspotting (2017)
  5. Moonlight (2017)
  6. Beauty and the Beast (2017)
  7. Get Out (2017)
  8. Logan (2017)
  9. Alien: Covenant (2017)
  10. Wonder Woman (2017)
  11. Spiderman: Homecoming (2017)
  12. Kong: Skull Island (2017)
  13. Dunkirk (2017)
  14. Baby Driver (2017)
  15. It (2017)
  16. Blade Runner 2049 (2017)
  17. Thor: Ragnorak (2017)
  18. Kingsman: The Golden Circle (2017)

2016 Oscar Predictions

I’m really late this year but here goes. I know I probably say this every year, but this year’s race is probably one of the most competitive in recent history; almost all the major categories could go any possible way, which is somewhat terrifying. Thanks to the most WTF nominations – for lack of a better way of putting it – it seems the Oscars are just getting whiter and wider (open, I mean). As usual, images are of my personal picks, not of the ones that will win because my blog, my rules.

Best Picture

spotlight film rachel mcadams michael keaton mark ruffalo liev schrieber brian d'arcy james newroomsource

What will win: The Revenant
What I want to win: Spotlight

Spotlight is such journo porn, and as a journo I of course loved it, but all biases aside because I’m a journo and #objectivity, Spotlight may not be an All the President’s Men but it sheds light on some important issues including the power of religion and institutions and the crucial role of journalism in holding those in power accountable. The only downside to this movie is just how long and sombre it is, but that can also be said of The Revenant. The Revenant is a good film, but I’m not a fan of the whole man vs. nature story, and to cut a really long film short, this is NOTHING compared to Iñárritu’s Birdman, a tour de force. A part of me also really hopes underdog Mad Max: Fury Road wins because it was easily one of the best films I watched all year.

Best Director

mad max fury road tom hardy charlize theron car gunssource

Who will win: Alejandro Iñárritu, The Revenant
Who I want to win: George Miller, Mad Max: Fury Road

Where is Ridley Scott? It’s hard to forget this egregious snub as I would have loved to see him finally take home a long overdue Best Director trophy (no he shockingly doesn’t have one and is the Leo of the Best Director world). Ridley aside, out of the nominees, I’d pick George Miller, but as one critic put it, Iñárritu is a force to be reckoned with.

Best Actor


Who will win: Leonardo DiCaprio, The Revenant
Who I want to win: Michael Fassbender, Steve Jobs

I THOUGHT THIS DAY WOULD NEVER COME, AND I WOULD NEVER TYPE THE WORDS: LEONARDO DICAPRIO IS GOING TO WIN AN OSCAR. Except it’s for the wrong movie. Leo was dedicated all right, I’m not going to dispute that (or the bear), but The Revenant is probably one of his least powerful performances to date. A win for any other performance, in particular a Scorsese collab (The Aviator or The Wolf of Wall Street) would have been so much more significant. Fassbender, on the other hand, displayed depth and versatility, morphing into a character that not only demands the audience figure out whether they really root for but also makes them forget they’re watching Michael Fassbender (of all people). Sadly, that same versatility and perhaps a lack of a trademark may be part of the reason one of the most talented actors of our generation is often overlooked by the public. ALSO I CRIED OK.

Best Actress

Jacob Tremblay and Brie Larson in "Room" from EPK.tvsource

Who will win: Brie Larson, Room
Who I want to win: Brie Larson, Room

It was so refreshing to see for once such three dimensional female characters that made this category so much more competitive than the Best Actor and Supporting Actor races. All these actresses are amazing, but through process of elimination – Cate Blanchett’s performance in Carol is no Blue Jasmine, I can’t with Charlotte Rampling after her reverse racism comments, J. Law’s already got her Oscar, and I haven’t seen Brooklyn but Saoirse Ronan hasn’t won an award this season – both my head and heart say Brie Larson deserves this.

Best Supporting Actor

mark rylance bridge of spies tom hankssource

Who will win: Sylvestor Stallone, Creed
Who I want to win:
Mark Rylance, Bridge of Spies

This category is historically known for being the most competitive, and it’s surprising to see that it’s probably the most boring one this year. I’ve only seen two of the five movies, so whatever, Sly’s gonna win (much to my chagrin) because the Academy is sentimental and loves a comeback. I don’t really want anyone else to win except for Idris Elba, and I’m honestly still made he wasn’t even nominated but critics loved Mark Rylance so I’ll just go with that.

Best Supporting Actress

alicia vikander the danish girlsource

Who will win: Alicia Vikander, The Danish Girl
Who I want to win: Alicia Vikander, The Danish Girl

The Academy could really go either way with perennial favourite Kate Winslet or newcomer Alicia Vikander. Kate was good in Steve Jobs, so I wouldn’t be too upset if she won, but Alicia Vikander is the true star in this category. Her work in The Danish Girl was a leading performance – truly great one at that – and honestly this is her year; not only is she everywhere, she was great in Ex Machina, which she really should have been nominated for in this category instead.

Best Original Screenplay

inside out emotions pixarsource

What will win: Spotlight
What I want to win: Inside Out

To me, Inside Out is a truly ‘original’ movie. The concept in itself – what if feelings had feelings? – is so out-of-the-box, and the story and characters only made it even better. I’m guessing Spotlight will take this though as it deserves some form of recognition.

Best Adapted Screenplay

matt damon the martian ridley scott marssource

What will win: The Big Short
What I want to win: The Martian

I have yet to watch The Big Short so this is an educated guess based on reading multiple reviews and predictions. I’d love for The Martin to win though; it was so refreshingly different and optimistic.

Best Animated Feature

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What will win: Inside Out
What I want to win: Inside Out


2016 Movies Watched

I do this every year for my own record (and yours, if you’re interested).

  1. The Hateful Eight (2015)
  2. Spotlight (2015)
  3. The Revenant (2015)
  4. Steve Jobs (2015)
  5. The Danish Girl (2015)
  6. Ex Machina (2015)
  7. Room (2015)
  8. Magnolia (1999)
  9. Zootropolis (2016)
  10. The Deer Hunter (1978)
  11. Captain America: Civil War (2016)
  12. Shakespeare in Love (1998)
  13. Mission: Impossible – Rogue Nation (2015)
  14. X-Men: Apocalypse (2016)
  15. Z for Zachariah (2015)
  16. The Nice Guys (2016)
  17. The Legend of Tarzan (2016)
  18. The Neon Demon (2016)
  19. Layer Cake (2004)
  20. American Psycho (2000)
  21. Bridget Jones’ Baby (2016)
  22. Deadpool (2016)
  23. Doctor Strange (2016)
  24. Finding Dory (2016)
  25. Moana (2016)
  26. Rouge One: A Star Wars Story (2016)

Best Things: 2015

My year in media. More to come in the final days of 2015.


Movies: Birdman (2014), Boyhood (2014), Kingsman: The Secret Service (2014), Whiplash (2014), Mad Max: Fury Road (2015), Inside Out (2015), The Martian (2015), The Lobster (2015)

Oldies: Before Sunrise (1994) / Before Sunset (2004) / Before Midnight (2013), Strangers on a Train (1951)

TV: Doctor Who Series 9, Hannibal, Twin Peaks

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Books: The Goldfinch by Donna Tartt, The Unbearable Lightness of Being by Milan Kundera, The Secret History by Donna Tartt, Lolita by Vladmir Nabokov, I am Pilgrim by Terry Hayes

Singles: “Hotline Bling”, Drake; “On My Mind”, Ellie Goulding; “Eventually”, Tame Impala; “King”, Years & Years; “Still Want You” Brandon Flowers; “High by the Beach”, Lana Del Rey; “La Lune”, Madeon feat. Dan Smith; “Hangin'”, Bastille; “Powerful”, Major Lazer feat. Ellie Goulding; “I Bet My Life”, Imagine Dragons; “Jungle”, Drake; “Greek Tragedy”, The Wombats; “Happy”, Marina and the Diamonds

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Albums: Mumford & Sons, Wilder Mind; Disclosure, Caracal; Halsey, BADLANDS; Florence and the Machine, How Big, How Blue, How Beautiful; CHVRCHES, Every Open Eye; Jamie xx, In Colour; Kendrick Lamar, To Pimp a Butterfly

Concerts: Too many! Bastille @ Taipei International Convention Center, Mumford & Sons at The O2. Honourable mentions: Disclosure @ Ally Pally, OK Go @ National Taiwan University Sports Center

Nights Out: Dance Rock Taipei @ Revolver, FKJ @ The Wall, Pomo @ Korner, Darius @ Barcode, “The Owls Are Not What They Seem” Twin Peaks-themed bar by Lemonade and Laughing Gas


People I’ll miss: David Carr, Leonard Nimoy, Jonah Lomu, Catherine Coulson, Omar Sharif

Breakup I may never get over: Emma Stone and Andrew Garfield

Places: Czech Republic, Austria, Taipei (because I was sad to leave), Yunnan

gustav klimt the kiss

Artists: Gustav Klimt, Alphonse Mucha

Things I wrote/created/made:

‘Spectre’ Film Review

Let’s hope this isn’t Daniel Craig’s last stint as James Bond because Spectre was so disappointing.

Can’t say it wasn’t expected though. All the signs were there: Sam Mendes (and much of the writing team) returning to helm the 24th film in the franchise, Christoph Waltz as yet another villain, Sam Smith’s lacklustre theme song. In many ways, it was yet another example of Hollywood taking something that worked (read: made big bucks) and trying to replicate that exact film. Nothing against Mendes (American Beauty I will always love), but Skyfall was such an uniquely beautiful un-Bond film that any attempt to make a film that is just like it would prove unsuccessful.

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And that was exactly what Spectre turned out to be. It’s a film that seems very intent on nostalgia, perhaps too intent. Spectre pays homage to older films in the franchise but does nothing new. It tries but clumsily stumbles over its attempt to neatly unshroud the mystery surrounding the three films before it.

Tie up the loose ends it does, but its efforts are almost perfunctory. There’s no heart to this movie. The story was mediocre, there was no real character development, and it offers no profound insights on the state of the world and England’s place within it – which is what the James Bond films are supposed to be all about  (there were some mentions of drones and surveillance, but the repercussions weren’t large enough to be felt). On the surface level, even the action sequences weren’t that entertaining; no clutching-the-armrest, holding-your-breath excitement to be felt here.

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The cast is not to blame; they all give solid performances despite the material, and Daniel Craig is still my favourite Bond. It’s just something was lacking in the character development department; Bond punches his way through this film without really exhibiting any character growth, Ralph Fiennes’ M and Andrew Scott’s C are underdeveloped, while Monica Bellucci’s much-talked about role was so minor she melted into Bond’s arms within seconds and was rendered irrelevant pretty much seconds after that (I can’t help but wonder if things would have been different if one of my favourite actresses, Penelopé Cruz, who was initially rumoured for the role, had been cast instead?). And for all of Léa Seydoux’s Dr. Madeline Swann’s talk of not falling into Bond’s arms, she pretty much does, after a dinner conversation that was probably supposed to conjure a callback to a similar conversation Bond and Vesper have in Casino Royale. Except the dinner’s brushed over before the conversation can delve into any depth, and we’re supposed to believe that she’s formed this MEANINGFUL bond with him and LOVES him based on what minor interactions they’ve had? It’s just a little too forced for my taste, as if it was just done because it was supposed to be done and because #tropes.

And our villain! Christoph Waltz always rocks villains, but Spectre’s mastermind was not at all menacing; Franz is so pathetic it’s not even possible to perceive him as a threat, let alone compare him to Javier Bardem’s Raoul Silva.

daniel craig lea seydou desert spectresource

The reveal itself, if you can even call it that, was not remotely satisfying – no surprise factor, no intricate plan, no minor detail we had overlooked; it’s an answer as straightforward as literally connecting dots with lines (or the head of an octopus to its tentacles) and so basically meant nothing and added nothing to the plot or the mythology of the franchise as a whole.

The last escape scene was actually too easy, too clean, too quick, like the rest of the film. There was no sense of urgency to this film; in fact, the stakes weren’t high enough for us to care. All in all, Spectre was a bore, with everything a shadow of its predecessor. Except we can’t even really say that because it isn’t beautifully-shot like Skyfall, with the exception of perhaps the opening Day of the Dead sequence.

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Sadly, the run-of-the-mill blockbuster will no doubt – sorry, has already – broken records and proven to be a commercial success (just like its equally boring theme song), which is all the more bad news for those hoping for good filmmaking an an end to this vicious moneymaking cycle in the Hollywood machine.

We can only hope that this isn’t how Daniel Craig, my favourite Bond, goes out, with a fizzle rather than a bang. This is no swan song, Daniel Craig; you deserve better and you know it. Just give us one more, and we can all die happy. Idris Elba for the next Bond though, amirite?

Perhaps the best and only way to summarise Spectre is to compare it to its similarly disappointing theme song. I guess the writing was really on the wall with this one.

“Far from the Madding Crowd” Film Review

While I haven’t had the chance to watch many movies this year, I’m not going to pass up on the opportunity to write about one of my favourite actresses nor having beautiful accompany photos of her on my blog, even if I did watch Far from the Madding Crowd two plus weeks ago.


After a year or so of eager anticipation, I finally watched the latest film adaptation of Thomas Hardy’s first literary success, which I read after hearing news of Carey Mulligan’s casting as the headstrong, independent Bathsheba Everdene. The film follows Everdene and the three very different men in her life  – the kind and loyal shepherd Gabriel Oak (Matthias Schoenaerts), who makes her an unadorned offer of marriage, the older and wealthy William Boldwood (Michael Sheen), and the dashing yet reckless Sergeant Frank Troy (Tom Sturridge).

Mulligan is radiant as Everdene. It’s a role that suits her better than the whimsical Daisy in The Great Gatsby, a role that was in many ways impossibly difficult to pin down. Here, she commands Bathesheba with ease, expressing our heroine’s thoughts with a simple upward tilt of a lip, a raise of an eyebrow, yet at the same time portrays a certain vulnerability – when she’s lost and knows she is – with her doe eyes, a slight quiver in her voice. Mulligan comes off as an endearing sweetheart in real life, but she has the dramatic depth to pull off the headstrong, independent character, the same way she played against type in the Coen Brothers’ Inside Llewyn Davis and as Sissy as Shame. Her take on Bathesheba’s (slightly tweaked) famous line, “It is my intention to astound you all,” was uttered with such confidence, and astonish us all she did.

far from the madding crowd carey mulligan matthias Schoenaerts thomas vinterberg 2015 bathsheba everdene gabriel oak

The film is a relatively faithful adaptation of Hardy’s fourth novel, with a few revamps that made it more accessible to contemporary audiences. It doesn’t deviate from the text but does jump quickly plot point to plot point, brushing over some details, leaving out others, without taking much time to explore anything in between; this may make it somewhat more difficult to understand for non-readers of the novel, as Vulture put it.

Beautiful and elegant, the film’s pastoral imagery and in particular its costume design stand out amongst period pieces of its kind for the film’s modernizations (they certainly didn’t wear dresses this pretty in Pride & Prejudice). Shifting Sergeant Troy’s memorable display of his swordsmanship to a misty forest was much appreciated – cf. the 1968 version, which bordered on comedic (I watched the scene for this) – but we weren’t left quite as breathless as we were in the novel, ultimately due to miscasting.

far-from-the-madding-crowd-carey mulligan tom sturridge forest sword bathsheba everdene frank troy sergeant thomas vinterberg 2015

While some critics have argued Schoenaerts was miscast as Gabriel due to his accent – it went unnoticed and didn’t irk me – it was Tom Sturridge who lacked the bad boy swagger, charm and sense of danger associated with Troy. It’s hard to think that it was him with his incessant pouting that “tamed” Bathesheba. Schoenaerts may have been a bit bulkier than I pictured (I blame Peeta), but he displays the patience and kindness of the gentle shepherd through and through, becoming the emotional constant of the film. Oak doesn’t speak much, but his eyes are telling, and Schoenaerts is the only one out of the three suitors that will have audiences swooning.

Michael Sheen gives a fantastic controlled performance – I couldn’t have imagined anyone better for Boldwood – although a bit more of the madness and obsession within would have helped the climax, which was a bit of an anti-climatic let down. I did appreciate the somewhat feminist tweaks – Bathesheba’s reaction during said climax, as well as her and Oak’s final exchange, were much more believable by today’s standards.

In the end, the love story at the core of this story is what matters, and the film stays true to that, creating a beautiful final scene, the sort that sets those stomach butterflies fluttering, to wrap up what was and remains a rather difficult novel to adapt. Really, it’s quite swoon-worthy, in the best possible way.

2015 Oscar Picks

With so many great films and performances, this year is one of the most hotly contested years in recent Oscar history. Many categories are still considered wide open and could go either way, but here’s a stab anyway. Disclaimer: I am going into this without having seen The Imitation Game as it will not be released in Taiwan until next week. For selfish reasons, I have again decided to use photos of my desired winners rather than the expected ones.

Best Picture

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What I want to win: Birdman
What will win: Birdman

To take from my review, this is a movie.

Best Director

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Who I want to win: Alejandro Iñárritu, Birdman
Who will win: Richard Linklater, Boyhood

There’s no plausible way Boyhood receives no recognition at this year’s awards and rightfully so; Boyhood showed us that film as a medium is capable of capturing the passing of time. In which case, I’d be okay with Linklater beating out Iñárritu for Best Director. Sticking with a film for 12 years is dedication.

Best Actor

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Who I want to win: Eddie Redmayne, The Theory of Everything
Who will win: Eddie Redmayne, The Theory of Everything

Between a spot-on portrayal of a historical figure and a spectacular comeback, it’s hard to predict who the Academy will pick. I’d say Eddie Redmayne had the harder job out of him and Michael Keaton (and Benedict Cumberbatch, who I’d love to see win just because). Keaton’s Riggan Thompson felt somehow less commanding or moving than Redmayne’s Stephen Hawking. He had Hawking down.

Best Actress


Who I want to win: Julianne Moore, Still Alice
Who will win: Julianne Moore, Still Alice

I’m generally very ambivalent towards this whole category this year, having only seen two out of the five films. Rosamund Pike deserved that nom, but Felicity Jones didn’t. Julianne does deserve some recognition for her work though. Can you believe she hasn’t won an award yet?

Best Supporting Actor


Who will win: J. K. Simmons, Whiplash
Who I want to win: J. K. Simmons, Whiplash

Ethan Hawke did some great work in Boyhood, but it felt like his usual fare. Robert Duvall was pretty good in The Judge, and Ed Norton was explosive in Birdman. But J. K. Simmons! I watched Whiplash just for these predictions, and J. K. was brilliant–Full metal Jacket‘s Sergeant Hartman but with depth! I haven’t seen Foxcatcher, but I’m not a huge fan of Mark Ruffalo, so I’m just gonna let my heart rule my head.

Best Supporting Actress

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Who I want to win: Emma Stone
Who will win: Patricia Arquette

Arquette deserves this, not going to argue. But Birdman lit up whenever Emma Stone came on screen. Stone–who I’ve always loved– is really starting to show some dramatic depth, and I can’t wait to see what she’ll do next.

Best Original Screenplay

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Who I want to win: Birdman
Who will win: The Grand Budapest Hotel

I want to give Birdman all the awards; it’s a masterpiece. But I have a feeling this may finally be Wes Anderson’s year. The Grand Budapest Hotel is Anderson’s best work to date. Boyhood doesn’t pose as much of a threat as it felt like the story was inevitably made up as the years rolled by.

Best Adapted Screenplay

benedict cumberbatch the imitation game banner coversource

Who will win: The Imitation Game
Who I want to win: The Imitation Game

It’s a toss up between Whiplash and The Imitation Game, and I’m calling this one somewhat blindly. Whiplash was really quite good, but it’s harder to adapt a book for the screen than it is to expand a short film into a feature length presentation.

Best Animated Feature

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Who I want to win: Big Hero 6
Who will win: How to Train Your Dragon 2

I personally really liked Big Hero 6, but Dreamworks may finally have a victory this year.

Birdman Review: What a Film

birdman michael keatonsource

As the screen flashed to black and the lights came on in the theatre, I was overwhelmed by the impression I had just witnessed something great, without being able to fully comprehend the complexity of its greatness. This is an artistic achievement, a tour-de-force – and to steal a quote from a Taiwanese film critic – this is a film.

Alejandro González Iñárritu’s Birdman follows Michael Keaton’s Riggan Thomson, a washed-up actor who made his name playing the eponymous superhero Birdman some two decades ago. In a desperate attempt to make himself relevant again – but unwilling to admit it – he decides to adapt and direct Raymond Carver’s “What We Talk About When We Talk About Love” for Broadway, hiring his fresh-out-of-rehab of a daughter Sam (Emma Stone really showing some dramatic depth) as his assistant to make amends for neglecting her during her childhood. In the days leading up to the play’s opening, Riggan has to deal with his lawyer/agent, a stuck-up Broadway big-shot (Edward Norton, fantastic), a desperate wannabe Broadway actress, a possibly pregnant girlfriend, a loving ex-wife, a cynical theatre critic and worse of all, the gnawing voice inside his head – the booming voice of Birdman – that is the anxiety and self-doubt that he may never fully be out of the superhero’s shadow.

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I left the cinema speechless, unable to fully process my thoughts. With its messages and state of the art filmmaking, the film is eclipsing in practically every way and almost beyond human comprehension. Yet how true it rings of life. Birdman touches on the nature of film, theatre, art, celebrity, fame and astoundingly even human nature. Art, when done well, gives us a glimpse into our lives, helps us reflect upon ourselves and the nature of the world in which we live. And Birdman does exactly that. From our fear of being forgotten to our desire to make something meaningful out of our existence, it broaches the subject unabashedly, holding a mirror up to the world and showing us the truth.

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The entire cast is phenomenal – Stone and Norton particularly – and not one actor lets the film down. Keaton pulls off quite a comeback. He is spectacular and believable as Riggan, and you can’t help but root for him. It’s a role that’s practically made for Keaton – whose career trajectory closely mirrors Riggan’s – and the film knows this. Birdman revels in its self-awareness without ever becoming excessive. Its references are both high-brow – from the story of Icarus, Barthes and Shakespeare – to rooted in real life people and scenarios – from digs at George Clooney and Robert Downey Jr. to trending topics and viral YouTube videos – and yet at times the line between reality and art blurs. The film is shot in what seems to be one unbroken take, with the camera – and with it space and time – ebbing and flowing, seamlessly flowing into one another. It’s thrilling to behold, and you can’t help but marvel at the film’s execution.

The more I thought about the film, the clearer it became that Birdman is a real cinematic masterpiece – its story, acting, filmmaking, music, ideas, messages and all. I’ve never seen anything quite like it. I’m sure it can be dissected to bits, and it should be, to some extent. Regardless, I am sure that the film itself will achieve what its characters desperately fought for – to be remembered.

Movies Watched: 2015

New year, new list.

  1. Before Sunrise (1994)
  2. Before Sunset (2004)
  3. Before Midnight (2013)
  4. Big Hero 6 (2014)
  5. Birdman (2014)
  6. Boyhood (2014)
  7. Kingsman: The Secret Service (2014)
  8. Whiplash (2014)
  9. Into the Woods (2014)
  10. The Imitation Game (2014)
  11. The Avengers: Age of Ultron (2015)
  12. Mad Max: Fury Road (2015)
  13. Tomorrowland (2015)
  14. Jerry Maguire (1996)
  15. Dark Places (2015)
  16. Inside Out (2015)
  17. Far From The Madding Crowd (2015)
  18. Aliens (1986)
  19. Predestination (2014)
  20. Nightcrawler (2014)
  21. The Martian (2015)
  22. 22 Jump Street (2014)
  23. Ant-Man (2015)
  24. Slow West (2015)
  25. The 400 Blows (1959)
  26. Strangers on a Train (1951)
  27. Charade (1963)
  28. Spectre (2015)
  29. The Lobster (2015)
  30. Carol (2015)
  31. Star Wars: The Force Awakens (2015)

Best Things: 2014

As per usual, highlights of my year.


Movies: 12 Years a Slave (2013), Her (2013), Blue Jasmine (2013), The Wolf of Wall Street (2013), X-Men: Days of Future Past (2014), The Grand Budapest Hotel (2014), Gone Girl (2014), Interstellar (2014)

TV: Sherlock season 3, Black MirrorHannibalHouse of CardsA to Z

Books: Gone Girl by Gillian Flynn, This Is How You Lose Her by Junot Diaz, Hannibal by Thomas Harris, Fahrenheit 451 by Ray Bradbury

HAIM days are gone album cover

Albums: Arctic Monkeys, AM; Ed Sheeran, x; HAIM, Days are Gone; Bastille, Bad Blood; Jessie Ware, Tough Love

Singles: “Magic”, Coldplay; “Bite Down”, Bastille feat. HAIM; “Digital Witness”, St. Vincent; “Make It Rain”, Ed Sheeran; “From Eden”, Hozier; “If I Ever Feel Better”, Phoenix; “Make You Better”, The Decemberists; “The Waiting Game”, Banks; “Budapest”, George Ezra; “Hearts on Fire”, Passenger; “Not a Bad Thing”, Justin Timberlake; “Crave You”, Flight Facilities feat. Gisele

Concerts: Phoenix @ Legacy

Podcasts: Slate’s Cultural Gabfest, Call Your Girlfriend

monet water lilies

Exhibitions: Monet: Landscapes of Mind @ National Museum of History


People I’ll miss the most: Robin Williams, Philip Seymour Hoffman, Mike Nichols

Places: London (St. Paul’s Cathedral, The National Gallery, V&A Museum, Hyde Park)


Single worst thing: The How I Met Your Mother finale.

Things I wrote/created/made: