
1. Call Me By Your Name
2. Lady Bird
3. The Post
4. The Shape Of Water
5. Dunkirk
6. A Ghost Story
7. The Meyerowitz Stories
8. Get Out
9. Blade Runner 2049
10. All The Money In The World
Politics, Pop, Books, Movies
1. Timothee Chalamet, Call Me By Your Name
2. Michelle Williams, All The Money In The World
3. Frances McDormand, Three Billboards Outside Ebbing Missouri
4. James Franco, The Disaster Artist
5. Laurie Metcalf, LadyBird
6. Sally Hawkins, The Shape of Water
7. Barry Keoghan, The Killing Of A Sacred Deer
8. Alison Janney, I Tonya
9. Sam Rockwell, Three Billboards Outside Ebbing Missouri
10. Vicky Krieps, Phantom Thread
Martin Scorsese‘s The Irishman (Robert De Niro, Al Pacino, Joe Pesci, Bobby Cannavale, Harvey Keitel, Ray Romano)AdamMcKay‘s Backseat (Christian Bale, Amy Adams, Steve Carell, Sam Rockwell)Damien Chazelle‘s First Man (Ryan Gosling, Claire Foy, Corey Stoll, Kyle Chandler, Jason Clarke)Clint Eastwood‘s The 15:17 to Paris (Jenna Fischer, Judy Greer, Bryce Gheisar, Alek Skarlatos, Thomas Lennon, Jaleel White, Tony Hale, P.J. Byrne). Steve McQueen‘s Widows (Viola Davis, Cynthia Erivo, Andre Holland, Elizabeth Debicki, Michelle Rodriguez, Daniel Kaluuya, Liam Neeson, Colin Farrell) Nov 18 Terrence Malick‘s Radegund (August Diehl, Valerie Pachner, Michael Nyqvist, Matthias Schoenaerts, Jürgen Prochnow, Bruno Ganz) Alfonso Cuaron‘s Roma (Marina de Tavira, Marco Graf, Yalitza Aparicio, Daniela Demesa, Enoc Leaño, Daniel Valtierra) Jacques Audiard‘s The Sisters Brothers (Jake Gyllenhaal, Joaquin Phoenix, Rutger Hauer, Riz Ahmed, John C. Reilly)Barry Jenkins‘ If Beale Street Could Talk (Kiki Layne, Stephan James, Teyonah Parris, Regina King, Colman Domingo, Brian Tyree Henry, Diego Luna, Dave Franco).Bryan Singer‘s Bohemian Rhapsody (Rami Malek, Ben Hardy, Gwilym Lee, Joseph Mazzello, Allen Leech, Lucy Boynton. 20th Century Fox)Gus Van Sant‘s Don’t Worry, He Won’t Get Far on Foot (costarring Joaquin Phoenix, Rooney Mara, Jonah Hill, Jack Black, Mark Webber)Spike Lee‘s Black Klansman (John David Washington, Adam Driver, Laura Harrier, Topher Grace, Corey Hawkins — Focus Features)Woody Allen‘s A Rainy Day in New York (Timothee Chalamet, Elle Fanning, Selena Gomez, Jude Law, Diego Luna, Liev Schreiber) Luca Guadagnino‘s Suspiria (Dakota Johnson, Chloë Grace Moretz, Tilda Swinton, Mia Goth)Ron Howard‘s Solo — A Star Wars Story (Alden Ehrenreich, Woody Harrelson, Emilia Clarke, Donald Glover, Thandie Newton)Steven Spielberg‘s Ready Player One (Tye Sheridan, Olivia Cooke, Ben Mendelsohn, T. J. Miller, Simon Pegg, Mark Rylance) Benh Zeitlin‘s Wendy The Incredibles 2Yorgos Lanthimos‘ The Favourite (Emma Stone, Olivia Colman, Rachel Weisz, Nicholas Hoult, Joe Alwyn, John Tormey).Richard Linklater‘s Where’d You Go, Bernadette? (Cate Blanchett, Kristen Wiig, Judy Greer)Robert Zemeckis‘s The Women of MarwenWes Anderson‘s Isle of Dogs (March 23)Anthony Maras‘ The PalaceAsghar Farhadi‘s Everybody KnowsBjorn Runge‘s The WifeFelix von Groeningen‘s Beautiful BoyJennifer Kent‘s The Nightingale, Paolo Sorrentino‘s Loro Laszlo Nemes' Sunset
1. The Shape Of Water — Alexandre Desplat
2. Call Me By Your Name — Sufjan Stevens, Ryuichi Sakamoto
3. Phantom Thread — Johnny Greenwood
4. Wonderstruck — Carter Burwell
5. Blade Runner 2049 — Hans Zimmer
6. Coco – Michael Giachino
7. A Ghost Story — David Lowery
8. Alien Covenant — Jed Kurzel
9. Darkest Hour – Dario Marinelli
10. The Vietnam War — Trent Reznor & Atticus Ross
1. Stranger in the Alps — Phoebe Bridgers
2. Something To Tell You — Haim
3. async — Ruichi Sakamoto
4. A Deeper Understanding – The War On Drugs
5. American Dream — LCD Soundsystem
6. MASSEDUCTION — St Vincent
7. Waiting On A Song — Dan Auerbach
8. Not Even Happiness — Julie Byrne
9. Loney Dear — Loney Dear
10. Planeterium — Sufjan Stevens
'The auteur theory is also front and centre in Tom Shone’s monograph on Tarantino (Thames & Hudson, £24.95). For some Tarantino is an example of the auteur as problematic text; a man with an immense facility for image-making and blessed of an unarguable cinephilia set against his hipster misogyny. This book, though, is very much the case for the defence. Shone is simply one of the most eloquent and acute film writers we have, but the retrospective shadow of the Harvey Weinstein allegations now inevitably seep into the margins of his text here given that Tarantino and Weinstein were joined at the hip in their salad days. Then there’s the fact that the more films Tarantino has made the more enamoured the director has become with the sound of his own voice. To his detriment. All that said, this remains a real engagement on Shone’s part with a director who clearly loves cinema. And for those who love him it’s a must. But be warned. It contains a lot of pictures of Quentin. I mean, a lot.' — Teddy Jamieson, The Sunday Herald
“A master-class‑–immersive, detailed, meticulous, privileged inside-dope… Tom Shone is the king of critical cool.” — Craig Raine
“An up-close and personal look at one of Hollywood’s most successful directors…This erudite book is packed with extensive, expansive discussions about Nolan’s films… insights into what he was trying to accomplish with each film; and the movies, directors, books, art, architecture, and music that influenced him…. Fans of Nolan’s films will find this revealing book invaluable.” — Kirkus, starred review
"A sweet and savvy page-turner of a valentine to New York, the strange world of fiction, the pleasures of a tall, full glass and just about everything else that matters" — Gary Shteyngart, author of Super Sad True Love Story and Absurdistan
"A cocktail with bite. I downed it in one" — Helen Fielding, author of Bridget Jones's Diary
"A deft, witty satire which casts its sharp eye over the absurdities of addiction, recovery and contemporary New York" — Marcel Theroux, author of Far North
“Laugh-out-loud funny” — Toby Young, author of How to Lose Friends and Alienate People
"Tom Shone's superb debut is a wise and witty examination of literary celebrity, Anglo-American mystification and the cult of recovery. Shone's prose sparkles: his humor detonates smart-bombs of truth" — Stephen Amidon, author of Human Capital
“A cutting comic debut” — The Sunday Times
“Clever, witty, acerbic, warm” — Geoff Nicholson, author of Footsucker
"A sharp, funny, and ultimately touching debut novel" — Library Journal Reviews
"One of the few novels set in Manhattan that gives you a true feel for the city” — James Wolcott, Vanity Fair
"A splash of cynicism, a dash of self-doubt, and a good measure of humour.... In the Rooms is an entertaining page-turner about humanity, with plenty of hilarity" — The Economist