On Sunday, March 2nd, the Academy of Motion Picture Arts and Sciences will once again broadcast the Oscars, and, like every other year, the Academy is once again embroiled in controversy. There have been big snubs, surprises, and controversial nominations this awards season. But before we start more toxic awards season discourse, I feel it’s important to step back and celebrate this year as a whole. While awards are inherently competitive, it’s important to remember that we had a pretty great year overall. And now, without further ado, here is my ranking of all the best picture nominees!
- Emilia Pérez
Starting this list off strong with some hot garbage, Emilia Pérez is by far the worst best-picture nominee this year. Not only is it bad, but it is also a borderline tasteless mess.
Emilia Pérez follows, you’ve guessed it, Emilia Pérez (Karla Sofía Gascón), a mob boss who fakes her death and then transitions and changes her name with the help of Rita (Zoe Saldaña), essentially living an entirely new life. However, things become dicey when her former wife Jessi (Selena Gomez) and her kids reenter Emilia’s life.
Emilia Pérez is tied for the most Oscar nominations ever and is currently the favorite to win this year, which is insane. It was nominated for its songs, all of its lead performances, and various other technical awards. On a technical level, this film is alright, but I’d argue the rest of the nominations are absurd. This movie does many things, none of which are done particularly well.
We must also address the elephant in the room: this movie is extremely controversial. For one, many have theorized that this movie was nominated purely based on its diversity, and while I think this isn’t entirely true, it certainly plays a large role in it. However, this movie cannot use diversity as a selling point when it fails to authentically portray the groups within it. This film was in hot water for having offensive depictions of Mexico as well as the transgender community.
Not only that, but its lead actress, Karla Sofia Gascon, has made several vile and hateful tweets in the past that have resurfaced upon the release of this movie. I don’t want to delve too deep into external matters in my review, as I want the work to speak for itself, but there’s no outrunning it when the movie is set in Mexico and has a transgender lead.
Purely on its own, however, this is just a movie disaster on every level. The script is awful, and it never spends enough time fleshing out its ideas or developing its plot threads. At its best, it’s akin to a soap opera or some other form of shallow “entertainment” with no substance to it at all; at its worst, it’s borderline unintelligible garbage. No character gets any meaningful development, not even Emilia Pérez herself, and their “arcs” serve no greater purpose to the plot.
The end product turned out to be a bloated, deeply confused movie that had no idea what it wanted to be. It’s not a good movie about transgender identity, it’s not a good crime film, and it certainly isn’t a good musical. I will admit that there are elements of a good movie here, but at the end of the day, this is a disaster of a film with nothing to add to this world.
- Wicked
I already know I will be crucified for this rating. It seems everyone was “holding space” with this movie when it first dropped. Despite the movie being this low on the list, it’s definitely a decent movie, albeit nothing remarkable. Wicked follows Elphaba (Cynthia Erivo), a young and green woman who lives in Oz. Upon entering Shiz University, she befriends Glinda (Ariana Grande), discovers a conspiracy against the animals of Oz, and even gets a chance to meet The Wizard of Oz (Jeff Goldblum himself).
This movie is definitely carried by its lead performances. Cynthia Erivo is a fantastic singer, and she delivers a solid performance as Elphaba. Ariana Grande is the highlight of the film for me, delivering a pretty excellent comedic performance, even if I think her style of singing doesn’t always work for Broadway tunes.
My main issues are the actual pacing and structure of the film. This is only the first half of the Broadway musical, but it sure doesn’t feel like it. The movie clocks in at almost three hours – almost the same length as the full musical. This pacing issue leaves the film feeling bloated and quite exhausting at points. Simply put, it’s too much.
Another major gripe I have with this movie is the visuals. There is a severe lack of color in this movie. The colors are very greyscale, washed out, and ultimately lifeless. It leaves specific musical numbers feeling quite underwhelming. “The Dancing Through Life” number is the worst offender here: despite having beautiful sets and choreography, it looks terrible. The movie is based on The Wizard of Oz, for crying out loud!
- A Complete Unknown
This is where we get into the good stuff. A Complete Unknown follows Bob Dylan (Timothée Chalamet), a young musician who would soon become a legend.
Full disclosure: I knew next to nothing about Bob Dylan before going into this movie. I knew he was a legend, but I didn’t know much about his music or his career. In that way, I think this movie did a pretty good job of informing me about who he was and how he became as famous as he did.
This movie’s claim to fame is Timothée Chalamet, arguably one of the most iconic and relevant actors of this generation. His Oscar-nominated performance is pretty good here. He manages to disappear into the role seamlessly, fully embodying Dylan. He’s also a surprisingly decent singer, and he manages to pull off Dylan’s songs very well.
The film has fun musical elements as well. The songs are great, but the way the film is shot really highlights the scale of it all. We constantly see the crowd as the characters perform, and we understand how important this music is visually. For this movie to work, we need to understand how and why people flocked to folk music and the script and cinematography delivered on that front.
The film is also surprisingly vulnerable when dealing with Bob Dylan as a character. We are kept at an arm’s length from fully understanding him, like the public. However, we see him fail, and the movie ends on a surprisingly bittersweet note – a bold move for a music biopic.
- Conclave
If I’m being honest, this is the movie I have the least to say about. It simply works both as a solid drama and a pseudo-political thriller. Conclave follows Cardinal Lawrence (Ralph Fiennes) and various other cardinals, who, after the death of the Pope, campaign and vote for who should be the new pope. However, controversy, political corruption, drama, and various other conflicts get in the way.
Make no mistake: these Cardinals play dirty. Each controversy, plot, and vote is tense and dramatic. You get deep into these politics, and every twist and turn feels like a massive shake-up for the plot.
Where the movie truly shines is in the relationships between the cardinals. The gossip between them is highly entertaining to watch. Despite the lead character, Cardinal Lawrence, being the least interesting, every other cardinal has their own distinct personality and is complemented by an outstanding performance by the actors portraying them. My favorite, though, has to be Cardinal Tedesco (Sergio Castellitto), an utterly irredeemable character who steals the show every time he’s on screen.
- The Brutalist
The Brutalist is about Lazlo Toth (Adrian Brody), a holocaust survivor and architect who immigrates to America for a better life. Things take a turn when he meets Harrison Lee Van Buren (Guy Pearce), a wealthy businessman looking to commission him for a project.
Much like a play, the two halves of the film — pre- and post-intermission — have a duality to them. If the first half is about Lazlo trying to find his place in America, the second half tears him back down to reality, stripping away the idealized American Dream piece by piece until he has nothing but his work.
Van Buren is a blatant representation of a capitalist, a man who exploits Lazlo for all he has. He is degrading, abusive, nasty, and vile – and yet Lazlo must play along. It’s heart-wrenching by the end, but it’s so necessary. A film about our country promising so much and yet consistently letting immigrants (and minorities in general) down fits so well into our current political climate. Despite taking place in the 1940s, this is, unfortunately, still a very relevant story.
As great as most of the movie is, though, it falters in the last 20 minutes as it doesn’t know how to properly wrap up its story. Instead, you are left with a somewhat inconclusive conclusion that does a disservice to the rest of the movie. Despite having higher highs than the movies below it, the lows make it hard to justify putting it above some of the other movies on this list.
- I’m Still Here
I’m Still Here is yet another hidden gem this year, for the Americas at least. It was a massive hit in Brazil, grossing $27.3 million and becoming the single highest-grossing Brazilian film since the pandemic. However, I think more people should watch this movie.
Based on a true story, I’m Still Here follows Eunice Paiva (Fernanda Torres) and her family living under, at the time, Brazil’s military dictatorship. However, when her husband Rubens (Selton Mello) is captured due to his political connections, it’s up to Eunice to find out what exactly happened to her husband.
The actual events behind this story are highly unsettling. The contrast between regular, everyday life and military activity is what makes this movie such a gripping portrait of the time period. A simple shot of a helicopter flying above a woman’s head while she’s at the beach is polarizing – a harsh reminder of the military occupation – and immediately immerses you in this era.
The film does a great job of portraying how surreal and bleak these events are. One scene, where Eunice’s husband is captured from their own home, feels deeply unsettling in how frankly these kidnappers act. Complimented by a fantastic performance by Torres, the anxiety Eunice feels throughout the movie practically radiates off the screen. Its rich, compelling, and informative nature stuck with me more than the films below it.
- Nickel Boys
Nickel Boys is honestly one of the most underrated films of the year. The movie’s limited release means, as it stands, this movie has barely been seen. However, I would encourage everyone to see this film because it is truly special.
Based on the book by Colson Whitehead, Nickel Boys follows Elwood (Ethan Herisse), a young boy sent to Nickel Academy, an abusive and segregated reform school. While at the school, he meets Turner (Brandon Wilson), and they both try to find a way out. The film is loosely inspired by real events, and is shot almost entirely from a first-person perspective.
Let’s address the elephant in the room: the first-person perspective. It is a bold choice, but it works in many ways. The camera is essentially “performing” here, as it is the character’s eyes. This makes some of the abuse these characters suffer much more harrowing for the viewer, as you are essentially viewing things through their eyes.
Where the film really shines is in the dynamic between its two main characters. Elwood and Turner basically only have each other in a world that hates them. Much of the film is just them talking, and each conversation felt entirely organic and captivating.
The film is also oddly ethereal. There are several points where the film is simply archival footage with a score over it. I can’t really describe its effect on me; it was almost dreamlike, and I found it quite powerful. The ending sequence, especially, felt like a nightmare, but in the best way possible.
- Dune: Part Two
Following the events of the blockbuster hit Dune (2021), Dune: Part Two once again follows Paul Atreides (Timothée Chalamet) on the desert planet Arrakis. Uniting with the Fremen, Paul prepares to take revenge against House Harkonen, gaining religious influence and power along the way.
Part Two is a step up from the original Dune in virtually every way, crafting a genuinely compelling tale about Paul’s corrupt rise to power and exploitation of the Fremen. While the first film was already a good story, the drama and characters in this movie are much more compelling, creating a gripping narrative first and foremost.
The narrative is complimented by a massive scope. The science fiction elements in this film are spectacular, making Arrakis feel real. The special effects are impressive, and the production design is also great. Every nook and cranny of Arrakis, from the Fremen Sietches to the vast desert, feels completely immersive. I saw this film twice when it first came out — once in Dolby and once in IMAX — and I was wholly captivated both times.
- The Substance
One of the most insane films all year, The Substance is a delight for the senses. Elisabeth (Demi Moore) is a fitness television star at risk of being fired after her boss deems her too old and too unattractive for the job. Desperate, she takes “The Substance,” a drug that creates a younger, separate version of herself — who she named Sue (Margaret Qualley). However, when the balance between both lives is disrespected, things begin to go downhill.
As you can imagine from the synopsis, this movie is an absolutely insane thrill ride. The body horror elements are impressive, especially since they are done using practical effects. One particularly great sequence is where Sue grows out of the back of Elisabeth, splitting in half as Sue crawls out of her. The pus, blood, guts, and all the other delightfully disgusting gore look real and are a treat for the senses.
But beyond all of the pulpy, wild, and gross elements, at the end of the day, this is a story about unrealistic beauty standards forced upon women and their societal impact. The bloody, over-the-top horror is just as visceral as the quiet, meditative moments where we get into the character’s psyche. This movie is hilarious, violent, and raunchy for sure, but it’s also very emotional, and it’s those qualities that have stuck with me more so than other films on this list.
- Anora
It was challenging to find out which film to put at the #1 spot this year. Unlike last year, with several singular masterpieces like Killers of the Flower Moon, Poor Things, and Oppenheimer being clear choices for the top spots, this year had me a little stumped. Because of this inconclusiveness, I will probably change my mind over time, but as of right now, Anora is the best film to be released this year.
Anora follows you’ve guessed it, Anora (Mikey Madison), an adult dancer from Brooklyn who meets Ivan (Mark Eydelshteyn), the son of a wealthy Russian family. The pair become married, and Anora is introduced to a highly luxurious lifestyle. However, after Ivan disappears, it’s up to Anora and his family to find him.
One thing I find incredible about the movie is that it can portray characters in a sympathetic light. Despite working in a very controversial and stigmatized industry, Anora is humanized and isn’t judged by the film at all. Despite being somewhat of a gold digger, we feel for her situation as the relationship unravels.
Mikey Madison gives a simply incredible performance as Anora, arguably the best performance by an actress in 2024. Anora is a very funny character, but at the same time, very tragic. Madison does a great job balancing the various tones of the film, leading to a very nuanced performance.
Without spoiling the movie, it does not have a happy ending, and that tragedy makes the movie so great. Seeing an ultra-glamorous lifestyle slip through Anora’s cracks is heart-wrenching, and watching her life unravel before her eyes is very depressing. Despite being predominantly a comedy, the film is quite haunting by the end and sticks with you long after it’s over. For that reason, it earns the top spot.