For the first time in a long time (and possibly ever) I’ve seen all 10 of the Best Picture nominees for tonight’s 98th Academy Awards before the ceremony takes place. So, here are my brief thoughts on each of the films, followed by my picks for some of the other categories. I’m going to do this in my own personal order of preference: 

F1 (2025) dir Joseph Kosinski

A really well-made popcorn movie. Great fun, but in all honesty does not deserve to be nominated for Best Picture over some of the notable omissions: eg Lynne Ramsay’s Die, My Love (2025), Ari Aster’s Eddington (2025) or Eva Victor’s Sorry, Baby (2025).¹

Sinners (2025) dir Ryan Coogler

Another superbly-executed movie, but one that I failed to find the depth in that others seemed to enjoy. The huge number of nominations leads me to believe that I should probably re-watch it at some point soon, to see what I missed. 

Hamnet (2025) dir Chloé Zhao

The direction is good, the performances are great (not just Buckley as Agnes, but particularly Jacobi Jupe as Hamnet). I was irked by the ‘greatest hits of Shakespeare’ elements of the script, but the closing scene is a triumph. Oddly, the choice to end on a performance of Hamlet had a similar feeling for me to the way Bohemian Rhapsody (2018) built up to Queen’s appearance at Live Aid. Probably not what Zhao had in mind, but it works superbly. 

Frankenstein (2025) dir Guillermo del Toro

GdT can be hit or miss for me, with my favourite of his previous work being the underrated Nightmare Alley (2021). Huge swaths of his adaptation of Frankenstein reminded me of the 1990s work of Tim Burton (including Oscar Isaac’s perfectly-calibrated turn as Victor, which Johnny Depp would surely have taken in a similar direction). Which is to say, for a 2025 movie this was weirdly nostalgic for me, and whilst the film is certainly overlong, it was a pleasure to be immersed in its meticulously-constructed gothic world.

The Secret Agent (2025) dir Kleber Mendonça Filho

From its opening scene this earns the viewer’s trust, and then leans on it by revealing more loose threads than it sometimes feels it will be able to pay off. The denouement will be a little divisive I think, but after more than two-and-a-half hours spent immersed in this vivid portrait of 1970s Brazil, full to the brim with great characters, it would be churlish to complain that the landing is a little bumpy. Worth the price of admission for Tânia Maria’s Dona Sebastiana alone. 

Train Dreams (2025) dir Clint Bentley

Back in 2020 I was pleasantly surprised to find that Netflix had not messed up their adaptation of one of my favourite novels: Walter Tevis’s The Queen’s Gambit (1983). Nevertheless, I was concerned that bringing Denis Johnson’s Train Dreams (2011)—one of my favourite novellas—to the screen might suffer from a temptation to strengthen its narrative through line and dampen down its emphasis on place and tone. Thankfully, not so: Bentley’s version is stunning to look at, and admirably content to simply sit with its characters. One departure from the text’s (closest thing to an) inciting incident was a mild disappointment, but overall I found this wonderful. 

Sentimental Value (2025) dir Joachim Trier

I enjoyed all three entries in Trier’s Oslo Trilogy, with 2021’s The Worst Person in the World being the strongest. I was always going to be excited for whatever he did next, but adding Stellan Skarsgård and Elle Fanning to the mix further piqued my interest. Sentimental Value has a first-class script, some exceptional performances (including another from Renate Reinsve), and perhaps Trier’s best work yet in terms of visuals. The way he uses and evolves the family home throughout is inspired.

Bugonia (2025) dir Yorgos Lanthimos

Lanthimos may just be the weirdest director currently garnering frequent Oscar nominations. Poor Things (2024) rightly got a lot of love a couple of years ago; so much so, that the (perhaps equally) great Kinds of Kindness (also 2024) flew weirdly under the radar. Here, Lanthimos is at the top of his peculiar game, bringing forth another off-kilter narrative that feels pristine and inevitable according only to its own internal logic. Stone and Plemons are unimpeachable, the script is superb, and that Chapell Roan needle drop probably deserves its own Oscar.

Marty Supreme (2025) dir Josh Safdie

I wrote about this one back on New Year’s Day, and I stand by it. I hope to find time to re-watch it soon, hopefully with my special lady friend, so that I can take the journey again alongside someone who doesn’t know what’s coming!

One Battle After Another (2025) dir Paul Thomas Anderson

This is PTA’s year, right? Has to be. It’s a crime that neither There Will Be Blood (2007) nor The Master (2012) gets you an Oscar. Even without that biographical detail, however, OBAA just happens to be the year’s most wildly entertaining movie. It effortlessly balances insightful capture of the current American moment with easy humour. Brilliantly constructed, full of masterful touches, host to incredible performances (DiCaprio, Penn and del Toro have never been better; Chase Infiniti sets an impossibly high bar on debut)… on first watch and re-watch I found myself shaking my head at just how great it is. 

• • •

And here’s my ballot for (some of) the other categories. The red dots represent my personal picks, and the black dots are my predictions for who will actually win. I’ve skipped those categories in which any answer I gave would be pure, uninformed guesswork. 

1. NB one of my own personal favourite movies of the year was Darren Aronofsky’s Caught Stealing, but it feels less like the kind of film that the Academy celebrates. If we’re giving Best Picture nods to F1 though….

A couple of weeks ago, I finished reading W David Marx’s latest: Blank Space — A Cultural History of the Twenty-First Century (2025). It’s a tough read, presenting both a recap of the last quarter-century’s relatively dire cultural landscape and a reasoned argument for how this came to be. Marx is cogent on the prevailing winds (social media, rampant egoism etc) that have eroded culture down to little more than attention seeking. As he formulates it towards the beginning of the book: 

Where there is no value other than money, honor is meaningless; and where there is no honor there can be no shame. And without shame, infamy and esteem become indistinguishable. This state of affairs rewarded sociopaths who were willing to weaponize their own disinhibition and amorality to dominate public discourse. The most controversial people swung the era’s narratives so far towards themselves that the twenty-first century’s artistic masterpieces often feel like outliers rather than exemplars of our times. (p7)

I took a bunch of notes as I went, and riddled my copy of the book with sticky tabs, with the full intention of writing about it at length. Ultimately, however, I concluded that no one benefits from me agreeing with a distilled version of Marx’s argument. So, let me just recommend the book if you’re interested in the subject matter. Having the last 25 years laid out in a few hundred pages really puts a weird new lens on what we’ve all lived through. 

• • •

I did want to call out one particular passage, which gave rise to feelings other than unalloyed despair: 

At the broadest level, the growing reliance on algorithms disrupted traditional pathways for cultural discovery. In the past, young people sought guidance from elders who recommended art, books, and music to expand their horizons. Blogger Matthew Yglesias noted that these recommendations often came with an implicit promise: “Given my understanding of your interests, my belief is that reading this book will help you become a better version of yourself”. By contrast, algorithms served up the most broadly appealing content, reinforcing the most common part of users’ existing tastes rather than challenging them. For all the early promise of “personalization”, algorithmic sites pushed most users into a homogonized experience, contributing to the growing sense go a stagnant monoculture. (pp231–2)

Sure, like most of the book, I agree with Marx’s thesis here and it bums me out. However, it also made me reflect upon some of my own experiences of what is being mourned here. In particular, just around the turn of the century, I made friends with a guy named Joe. He was a couple of years older than me, but more importantly he was cooler than I was by some margin. Not in an aloof, disengaged way though — in the best way: Joe was warm and friendly, enthusiastic and kind. On one particular occasion that sticks in my mind, we had arranged—probably via SMS between a couple of Nokias—to meet on a certain street corner on a Wednesday morning, to skate to the local comic shop and browse the new releases.¹ When I turned up, Joe handed me a paper bag, saying “Good morning, here, I got you a croissant”, then he dropped his board and skated off before I could say thank you. 

We weren’t in the same city for long, probably less than two years, but Joe tipped me to some foundational stuff. It was common to leave his place with a backpack full of loaned books and records. He lent me a lot of comics by Alan Moore, Brian Michael Bendis and Warren Ellis. I vividly remember him thrusting a copy of Jeff Buckley’s Grace (1994) at me with characteristic enthusiasm: “you have to hear this!”

Moreover, Joe exemplified unguarded open-heartedness and generosity of spirit. If we’re extremely lucky, a few such people pass through our lives. It’s been almost 25 years since I last saw him, and I have no idea what has happened in his life since, but I still think about him each time I play Grace. In his honour, I figure I’ll pick a random Wednesday sometime soon and spring a surprise croissant on someone. 🥐

• • •

Coming full circle somewhat, I want to give a nod to another acquaintance. Robert Rackley is a fellow traveller of the small web and an admirably consistent blogger. Last month he dropped a post about a mid-90s skate video: Stereo Skateboards’ A Visual Sound (1994). I looked it up, had not seen it, and found it to be excellent. I sent Robert a note thanking him for the tip, and he followed up with another rec. This led to a very enjoyable evening scouring YouTube for all of the Chocolate, Girl and Enjoi videos I watched around Joe’s place between sessions of Thrasher Presents Skate and Destroy. 

1. Do new comic issues still release on Wednesdays?

Back once again with another offering from Routes, because the east Oxford lot know what they’re doing. I think the Ethiopian that I had from them last year still tops my personal chart, but this is also delicate and nice. 

Last week I attended a guided mindfulness session at which the guy leading the class started by admitting that he once left his home before realising he was wearing watches on both wrists. It was an excellent ice-breaker and a masterful bit of expectation setting for what proved to be a really great experience. In between grounding exercises, the teacher led us through small techniques designed to showcase how quickly the mind makes (often incorrect) assumptions as a result of sub-conscious, evolutionary traits we’ve all inherited. 

It has rained a lot in the south of England recently, and tomorrow is forecast to bring another 12mm of precipitation, including snow. Today though, we’re enjoying a brief spell of sunshine. It’s still only 5ºC, but folks on my lane are sat out in their back gardens. The neighbour a few doors down is playing the new Puma Blue record—a perfect-seeming soundtrack as it drifts out in the cold, bright air.

Oxford University can be a strange place to work. This morning I attended the Academic Registrar’s Briefing, then walked to St Anne’s College for a symposium on AI in Education, and then across the road to Kellogg College, where a friend had organised a visit from some alpacas (and a llama) for wellbeing week. 

Last night we went to see Zadie Smith at the Sheldonian. Some readers may recall that a couple of years ago I saw Ali Smith receive the Bodley Medal at the same venue, so I enjoyed the symmetry of taking my seat to see Z Smith this time around.

Only when she walked out did I realise that, despite having read her for some time and listened to her on podcasts, I’d not updated my idea of Zadie Smith much in the last 25 years. She appeared impossibly cool behind dark-tinted glasses, and spoke with effortless thoughtfulness, answering her interlocutor’s questions in an entirely unguarded way. She is no longer the wise-beyond-her-years 20-something that I first encountered in issue 81 of Granta back in 2003. Then she was a member of a loose set of young British writers who were reinvigorating the novel: see also Monica Ali, Rachel Cusk, Hari Kunzru, David Mitchell and Adam Thirlwell. A few of those have lasted for me over the decades, but Smith now seems to occupy a particular echelon of (not just) British literature. Alongside half a dozen novels and more than a decade as a tenured professor at NYU, she’s kept up an impressive cadence of non-fiction, such that one gets the sense she can now write on whatever she’d like.

Ostensibly, Smith was there to talk about her new non-fiction book, Dead and Alive (2025), but the conversation was wide-ranging, as befits a collection of essays on topics as diverse as the art of Kara Walker, Joan Didion, the movie Tár (2022) and a love letter to her native NW6. She read this last piece, ‘Kilburn, My Love’, for us, and must have been gratified to have a couple hundred people rapt, laughing in all the right places.

Proof positive: no sooner do I shout out the work of Luke Bird (in the latest newsletter issue) than I find he designed this great, bold cover for the novel I just finished. 

I don’t intend to do this every month, but as we close out January, let me share the 2026-released albums I’ve listened to so far this year. In case it’s of interest, I’m keeping a running list over here of the ones that are really working for me. 

Likewise, here are all of the films that I’ve watched so far this year. (Heart icons represent those I liked most.) If you’d like to keep up with progress throughout the year, you can find me over on Letterboxd. 

This weekend we took a trip into London to visit the Design Museum for Wes Anderson: The Archives. If you had asked me to draw up a shortlist of directors whose works I’d like to have the chance to step into, Anderson would be right towards the top. It was a delightful—if occasionally surreal—experience to come face-to-face with so many of the building blocks of his meticulously-designed worlds. 

Upon entering the exhibition—through a door marked ‘NO CRYING’—you’re greeted with a display case in which Anderson’s hand-written spiral bound notebooks are piled below a gallery of candid Polaroids taken on set throughout his career. It’s a fitting introduction to Anderson the archivist, as well as the filmmaker. 

The exhibition proceeds (mostly) chronologically through Anderson’s oeuvre, starting with Bottle Rocket (1996), through to 2025’s The Phoenician Scheme. Centrepiece to each room are the costumes used during filming. It brings home just how many iconic looks have featured in Anderson’s movies: from Jason Schwartzman’s beret in Rushmore (1998), to Ben Stiller’s tracksuit and Gwyneth Paltrow’s fur coat in The Royal Tenenbaums (2001) and of course the blue and red ensemble worn by the crew of the Belafonte in 2004’s The Life Aquatic with Steve Zissou. 

There are also a huge number of props and pieces of set dressing from each film: as small as a compass or pocket knife (Moonrise Kingdom (2012)) and as large as a scale model of multiple train cars (Asteroid City (2023)). Even the entire façade of the titular building in The Grand Budapest Hotel (2014), and the rooftop signage from The French Dispatch (2021) are viewable up-close. 

One of my favourite rooms of the exhibition was the one that breaks the chronology, but for good reason: bringing together sets and maquettes from Anderson’s two stop-motion animated films to date. The chance to see the level of detail in the models for The Fantastic Mr Fox (2009) and Isle of Dogs (2018) was truly special. 

• • •

Also in several of the rooms were screens playing scenes from the film in question. The idea was to showcase the costumes as they were worn, and the props as they were used. However, I couldn’t help but notice that the screens always had people gathered at them with smiles on their faces, won over anew by the charm of Anderson’s film-making. I certainly came away from our visit with the intention to revisit each of these movies again soon. 

In some personal news, my electric toothbrush has become haunted. For about 20 minutes today I thought my neighbours were drilling, but it turned out to be my toothbrush vibrating in the ceramic cup it lives in. I’ve had no choice but to swaddle the brush in soft fabric whilst waiting for its rechargeable battery to die. I will then dispose of it responsibly, attaching a label that reads ‘Caution: possessed by a restless spirit’.  

• • •

Writing about this makes me recall reading once someone’s 21st century lament, that all they wanted to do was read their book and smoke a cigarette, but they couldn’t do either because both their book and cigarette required charging first. 

Back at it again with a new one from local roasters Routes, and this time it’s something… unusual! I’ve not had ‘coconut fermented’ coffee before, and right upon opening the bag it became very obvious that this was going to be a different experience. The beans smelled strongly of coconut, and whilst the aroma deepened upon grinding, the cup still had a distinctly coconut-y scent. As for taste: it’s a strong, sweet and unusual coffee as a filter. I’m intrigued to find out what happens when I throw it in the AeroPress later in the week. 

I’ve sung the praises of Zach Gage and Orta Therox’s daily puzzle site Puzzmo here before. I still play pretty much every day, and recently a new game got added that I’ve really been enjoying: Ribbit. 

It’s simple enough to play: just find all of the words of four characters or more in length. The paths between, and borders around, each letter denote the connections you should be looking at. 

As you find words, those connections disappear as they’re no longer required, making for a puzzle that actually gets easier the more progress you make. This conceit, along with the visual design of the puzzle, was the subject of a recent newsletter by Zach Gage, from which I found this detail really interesting: 

On my wife's recommendation, I kept the walls, but I switched the visual focus from walls to paths. Instead of light paths and solid walls, the final version […] has solid paths and light walls. This minor visual trick worked perfectly.

The most delightful part, however, comes when you’ve found all of the words that use a given letter. The letter then disappears, revealing a little frog in its place. 

Not to boast, but at the time of writing I’ve got a pretty decent Ribbit streak going. You should think about joining me, and if you do, let’s be friends.

One thing I’ve missed since we moved out of (more) central Oxford, to the eastern village-like part where we’ve now lived for two years, has been easy access to coffee spots. We were a little spoiled where we were previously: two streets away from one local roastery and—on the other side of the road—a vegan café owned by another. Where we are now, the closest place is a 30 minute walk or 10 minute cycle away. Not a huge effort by any means, but an hour’s round-trip is a different proposition to nipping out for a quick croissant, and I’ve found we do it infrequently. 

That changed a bit this week, with the arrival of this cute little horse box coffee place just about 10 minutes’ walk away. Hours are limited, at least to start with, but the coffee was good, and the vegan blueberry muffin was a treat. 

Starting the new year with a new coffee from Round Hill. My first cup, as filter, tasted a little more black tea than ‘blackcurrant jelly’, but it was very enjoyable. 

Back in January of 2020, I squirmed in my cinema seat throughout the Safdie brothers’ Uncut Gems (2019), hooked on every tangent taken by Adam Sandler’s unravelling jeweller / gambler. Here, older brother Josh recaptures much of that same frantic energy, but it stems from a different place. Where Sandler’s Howard Ratner was increasingly fuelled by sheer desperation, Timothée Chalamet’s Marty Mauser is propelled by unflagging self belief. As things start to come unglued, that distinction makes all the difference. There’s a myopia to Mauser, and a powerful selfishness; the film catalogues numerous misfortunes rendered unto others because of his actions. And yet, some combination of script, performance and character arc make him hard not to pull for. You’re still likely to only use the edge of your seat, but you’re less likely to watch between your fingers.

Friends, as has been tradition for more than quarter of a century, I’ve rounded out my music-listening year with a rundown of the twenty  records released in 2025 that brought me the most joy. If that sounds interesting to you, grab a warm drink of your choice and head this way for the full list.