Interstellar

Christopher Nolan’s sci-fi epic felt like a natural evolution from his world-bending, mind-melting Inception. Taking inspiration from the auteurs of the 60s and 70s, and owing much to Kubrick’s 2001, Nolan took another giant leap towards making arthouse films on a blockbuster scale. While the visuals are spectacular and the science substantial, we never lose connection to the human spirit that transcends space and time. 

Only Lovers Left Alive

When I grow up I want to be Adam – secreted away and surrounded by vintage fuzz pedals and feedback, banging old Fender Jazzmasters with drumsticks. This is how we find Tom Hiddleston’s centuries-old revenant in Jim Jarmusch’s achingly cool hipster-rock vampire flick. As Adam’s existential ennui sets in, he is reunited with his long-distant lover Eve, played with enigmatic grace by Tilda Swinton, before their lives are disrupted forever by the arrival of her wild younger sister. The film might be self-consciously pretentious, and the dialogue occasionally creaks like an old coffin lid, but it’s hard to complain when it looks and sounds this sexy, scuzzy and chic. 

Have I missed anything?

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