Courtesy of Emily Zavada
This year’s crop of Best Picture nominees is an interesting bunch, from international films to heavy dissections of the American Dream. Rather than describing them vaguely, let’s take a look at each of this year’s nominees, ranked from worst to first.
10. “Emilia Pérez”
An absolute trainwreck of a film, “Emilia Pérez” is one of the Academy’s most baffling nominees ever in the Best Picture category. There’s never been a more distinct disconnect between the Oscars and the general public than there is on this film, which received 13 nominations. From the stilted performances and musical numbers to the insensitive portrayal of trans people, there’s not much to like about “Emilia Pérez.” The long list of controversies surrounding its director and lead actress are just adding more negativity to the pot. If even one of its nonsensical storylines amounted to something, I’d give it some credit. Instead, it’s a film of all fluff and no substance.
If “Emilia Pérez” wins on Sunday, I’ll have it ranked as the worst Best Picture winner of all-time, behind “The Broadway Melody.”
9. “A Complete Unknown”
“A Complete Unknown” is a big jump up from the film below it on this list, but something had to be second from the bottom. Make no mistake: The soundtrack and the performances are wonderful, but the film is way too safe for my current sensibilities. Some of the characterizations seemed off, and that was something that really concerned me because I happen to really love the work of multiple people depicted in the film. I was hyper aware of this while watching, so I was never able to fully believe the film’s reality. Also, while the soundtrack is great, “A Complete Unknown” does seem to just string together a series of concert scenes. What’s left in between is a thin boomer fantasy.
If “A Complete Unknown” wins Best Picture on Sunday, I’ll have it ranked as the 78th best winner of all-time, between “Slumdog Millionaire” and “My Fair Lady.”
8. “Wicked”
“Wicked” is great fun, but there’s no reason this story should be in two parts. I’ll probably be able to say that with more authority once the second part is released in 2025, but it’s hard to see a story in here that’s worth expanding, because the narrative is not the highlight. The friendship at the heart of the film between Cynthia Erivo’s Elphaba and Ariana Grande’s Glinda is exceptionally watchable, as are the massive musical numbers. The Land of Oz is an amazing place for any film to be set, and “Wicked” generally does it justice. Because this first film does a few things so well, I’ll be seated on opening night for “Wicked: For Good.”
If “Wicked” wins Best Picture on Sunday, I’ll have it ranked as the 65th best winner of all-time, between “Tom Jones” and “The Shape of Water.”
7. “Conclave”
The cardinals of “Conclave” are not dissimilar to the high school girls in something like “Mean Girls.” They’re ideological and petty and expert trash talkers. The film probably couldn’t have been released at a more perfect time — butting up against the 2024 election — as the film’s central premise follows the shadowy campaigning that goes into choosing a new pope. It never rises to massive cinematic heights, but also never stoops to anything below average. The ending, which has generated the most conversation surrounding the film, is delivered almost too naturally. If it had just a bit more punch, I would have taken more from “Conclave.”
If “Conclave” wins Best Picture on Sunday, I’ll have it ranked as the 50th best winner of all-time, between “From Here to Eternity” and “Gandhi.”
6. “Dune: Part Two”
The first “Dune” film from Denis Villeneuve was technically marvelous, but it really acted as a set-up for this sequel, which is a big improvement in just about every way. The story expands alongside the movie world, and Denis’s attention to detail perfectly suits everything that must be accomplished when trying to pull off such a massive project with dignity. With that being said, I won’t pretend to be a huge “Dune” guy in general. I respect everything happening here, but it wouldn’t be the first film I’d want to watch on a rainy day. There are other stories told on this large scale that happen to appeal to me more.
If “Dune: Part Two” wins Best Picture on Sunday, I’ll have it ranked as the 47th best winner of all-time, between “In the Heat of the Night” and “The Lost Weekend.”
5. “I’m Still Here”
The rare Best Picture nominee that I see after the nominations are announced, “I’m Still Here” is an excellent depiction of what a dictatorship looks like in action. In this case, it’s the Brazilian military dictatorship, which stood from 1964 to 1985. Sure, in that environment you can go to the beach and dance around. But at any time, dissenters can find themselves in a locked room being interrogated while their loved ones are being tortured elsewhere. The ordinary can so quickly be stripped away and replaced by the most dire circumstances. That’s the trick of a government with no barriers. Your safety is only guaranteed for the moment.
If “I’m Still Here” wins Best Picture on Sunday, I’ll have it ranked as the 44th best winner of all-time, between “All the King’s Men” and “The Hurt Locker.”
4. “Nickel Boys”
“Nickel Boys” is the most artistically daring film on this list. It takes a huge creative swing by using first person point-of-view, which does a lot to take you into the film’s world. The bulk of the movie takes place at a reform school with a cruel and unusual underbelly. The truth of that underbelly is slowly revealed across the film’s runtime. I think the big revelations are kept from the audience for a little too long, though the imagination is allowed to run wild once all the chips are placed with the viewer. Its willingness to use cosmic imagery — which I adore — was an unexpected direction. RaMell Ross, who helmed the film, should be in the Best Director race. His control of this subject and the craft of filmmaking is incredible.
If “Nickel Boys” wins Best Picture on Sunday, I’ll have it ranked, like “I’m Still Here,” as the 44th best winner of all-time.
3. “Anora”
Respected director Sean Baker is finally having his Oscar moment with “Anora” after churning out an impressive stretch of films in the past decade. The star of “Anora” is Mikey Madison, who portrays the titular character with strength. The cast around Madison is fantastic, and Baker made good use of near-documentarian stylings to round out the film. The world of “Anora” is so true, even in its most fantastical moments. There is no grittier film in the lineup. The chaotic middle act will get the most hype, but the film’s soul lies in its final stretch, with Madison and Yura Borisov forming the year’s most compelling set of dialogue partners.
If “Anora” wins Best Picture on Sunday, I’ll have it ranked, like “I’m Still Here” and “Nickel Boys,” as the 44th best winner of all-time.
2. “The Brutalist”
“The Brutalist” is a massive film, much like many of the movies that won Best Picture at previous Oscar ceremonies. Its Ellis Island arrival scene is probably the best of its kind since “The Godfather: Part II,” so “The Brutalist” hits some incredibly high highs. It also features an intermission, which I think is swell. The film feels a little pretentious, but its messaging is actually pretty straightforward once you cut through the noise. As the aforementioned American Dream dissection, it again evokes “Part II,” though “The Brutalist” approaches the subject through the lens of a disrespected artist. The performances feel like a standout element, especially those from Adrien Brody and Guy Pearce. They delivered two of my favorite performances of the year.
If “The Brutalist” wins Best Picture on Sunday, I’ll have it ranked as the 38th best winner of all-time, between “On the Waterfront” and “Ben-Hur.”
1. “The Substance”
When I first walked out of the theater after seeing “The Substance,” I really wasn’t sure whether it worked for me or not. Days later, I still wasn’t sure. Months later, I’ve cracked the answer. If I can’t get a movie out of my head after so much time has passed, it clearly is something worthy of admiration. After much consideration, it’s become obvious to me that “The Substance,” in spite of its flaws, is one of the coolest Best Picture nominees in recent memory. Anchored by excellent perfomances by Demi Moore and Margaret Qualley, the topic of body image has rarely been approached in such vivid detail. The makeup team is deservedly going to earn a statue on Oscar night. Beyond the things we can see, “The Substance” makes me feel so much. Like all movies I love, “The Substance” is burned into my consciousness and an inspiration for my own creative output.
If “The Substance” wins Best Picture on Sunday, I’ll have it ranked as the 22nd best winner of all-time, between “Rocky” and “Spotlight.”
