We’ve reached the big category. Best picture winners of the past have rarely aligned with my tastes, but I’m fairly confident that my favorite film of the year will match up with the Academy’s choice. One thing I love is a list, so I’ve decided to talk about this year’s best picture nominees in the reverse order of my preference. However, let’s keep it positive. Every movie on this year’s list has merit.
“Maestro” is an interesting film on a conceptual level, filling in the gaps of Leonard Bernstein’s life and music. Its shake-up of the stale biopic genre is an approach I would like to see attempted again. It features a pair of strong lead performances and is easily accessible on Netflix for anyone who wishes to see it for themselves.
“American Fiction” follows a stubborn, pretentious writer who makes some astute observations about the state of things. This guy is too relatable. I like that it gave Jeffrey Wright the kind of meaty, vehicle role he’s always deserved. The politics of the film are pretty vague, and so this gave me a lot to chew on.
“Past Lives” will always take me back to the Grove AMC in Los Angeles, surrounded by people who can appreciate a quiet piece of cinema and engage with it. I don’t get that too often, if ever, at home. It introduced me to a few interesting performers — Greta Lee and John Magaro — that I would like to see again.
“Anatomy of a Fall” is a courtroom drama in a time when that genre seemed dead. The intrigue of the film lingers after the final credits, and the narrative unfolds in a satisfying way that kept me guessing. The lead performance from Sandra Huller is one of the best of the year, making a cold character into someone a little more inconsistent than she is on the surface. In a good way.
“Killers of the Flower Moon” shows that Martin Scorsese is still in-tune with the themes that have made him one of the greats. While the film does struggle with point of view, it is very “Marty” to have us be placed in the shoes of the vile ones. “Killers” shows us its story as a way to inform and educate about a dangerous era that just occurred in the previous century.
“Barbie” is gushing with color and life while also bringing legitimacy to a concept many laughed off. It turns out there was a lot to say about femininity in the movie about Barbie. It’s something of a gateway to feminism. I hope people recognize that “Barbie” can be the start of some deeper conversations regarding complex topics.
“The Zone of Interest” is a dark masterpiece, pulling no punches and having almost no regard for a general audience’s satisfaction. This one is sure to be on some end-of-decade lists in 2029. Build a wall and drown out the evil you’re inventing and inspiring. Rings familiar. The banality of evil is something that is difficult to face, because every one of us is guilty.
“Poor Things” is the feminist film that “Barbie” might think it is. It’s a wild ride, featuring the very best in makeup, production design, costumes, sound and music. Oh, and it features one of the greatest performances of all-time, Mark Ruffalo against type, and a host of other notables who make up an excellent ensemble.
“The Holdovers” is an instant Christmas classic, joining “It’s a Wonderful Life,” “Miracle on 34th Street” and “The Bishop’ Wife” as Christmas best picture nominees; it definitely stacks up. Of that list, I think it’s the second best. It captures the highs and lows of the season perfectly. Just thinking of the trio of character arcs at its center gives me the warm and fuzzies.
“Oppenheimer” hits every beat I look for in a film. Visually stunning? Check. A narrative that drives forward? Check. Outstanding performances? Check. A directorial vision that informs every frame? Check. There’s no better time to say this than the final line of Sam’s Oscar Outlook 2023 (Not 2024): “Oppenheimer” has one of the greatest endings to a film ever, and it should win best picture at the 96th Academy Awards.
