The Oscars and Me, 2024
Here’s my take on the Best Picture nominees for films that premiered in 2023.
Each year, I try to watch all of the Best Picture nominees before the awards show. Sometimes, I succeed. Sometimes, I fall just short. Either way, the show must go on. This is where I stand heading into the live broadcast. And yes, for the first time in years, I caught all ten nominees.
Let’s Level Set Where We Are
Here are your ten nominees for Best Picture. Congratulations to everyone involved with these films. They’re all remarkable achievements.
Okay, let’s get at it.
Nominated, but Not For Me
Films that were good, for sure, but just didn’t work for me. For you? Why not. After all, I could be wrong about this.
#10
Written and directed by Bradley Cooper.
Logline: This love story chronicles the lifelong relationship of conductor-composer Leonard Bernstein and actress Felicia Montealegre Cohn Bernstein.
What I thought: I thought they focused the movie around the wrong character. If you’re not going to go into Leonard Bernstein’s achievements, which is a bold decision, then it seems like a more compelling story would be to chronicle what it’s like to be married to a genius composer with an eccentric love life. I wanted to see the movie through his wife’s eyes. Instead, I just couldn’t connect.
Why you’d like this movie: It’s beautifully shot. And it’s clear that Bradley Cooper knows what he’s doing and he’s good at it. He takes big swings, and I’m there for them. Even with this miss, for me, this film is still entertaining and worth admiring its craft.
Who’s it for: Classical music lovers. Bradley Cooper fans. Netflix subscribers.
Brilliant, But…
Films that excelled in many areas but maybe not in another.
#9
Directed by Jonathan Glazer.
Written by Jonathan Glazer and Martin Amis.
Logline: Auschwitz commandant Rudolf Höss and his wife Hedwig strive to build a dream life for their family in a house and garden beside the camp.
What I thought: Let’s start with the positives, of which there were many. This might be the best directed film this season. The locked-down cameras made it seem like security footage, giving it a cold but real feel to the story. The acting was really subdued, and it had to be, considering how horrific a setting these characters were placed in. And the sound design told the story that happened on the other side of the wall, which delivered a direct dichotomy to what we were seeing. Like I said, this film was technically incredible. And it had to be, in order to pull this story off. Which brings me to this: I don’t know why this story had to be told. Do we really need to be told about the people who lived next to Auschwitz, especially if that person was a high-ranking Nazi official? I get the human truths being told about the lengths that monsters will go to turn extreme inhumanity into something ordinary. But…I guess, here’s what I’m getting at: I didn’t find it entertaining, just because you’re not supposed to. It’s a study about terrible people responsible for a horrible place where the most devastating atrocities this planet has ever seen. So…why are we here?
Why you’d like this movie: I don’t know how to answer this question. There’s momentum building for this film to win Best Picture, and I can understand why critics would be behind it. It’s truly a ballsy take on the what happened at the Holocaust. Look, it is a really good movie and it deserves this nomination. I just can’t say you’d like it.
Who’s it for: Aspiring filmmakers who want to learn from the very best. It’s nominated for Best Director, Best Adapted Screenplay and Best Sound Design, and it’s obvious why.
Hold on.
Let me just stop and say that this was a really great year for movies. Every film I’m writing about after this point is truly excellent and I heartily endorse that you see them. As for which one is better than the other is truly subjective. I can easily understand why a film I ranked as #7, for example, would be someone else’s #1. I might not even rank these films in this way six months from now. So it’s all in the eyes of the beholder at this moment. So giant grain of salt over here.
So where was I? Oh, right.
Style For Miles
Films driven with style, craft and a real sense of time and place.
#8
Directed by Alexander Payne.
Written by David Hemingson.
Logline: An odiferous, ocularly-challenged teacher is obliged to stay over Christmas to babysit a group of students, one of whom has been stranded by his newly remarried mother.
What I thought: I love Alexander Payne. I think he’s a genius. And he’s fully in his powers in this movie. And it’s clear that Paul Giamatti is his muse — and Da’Vine Joy Randolph will be everyone else’s. Her performance is emotional, relatable and unforgettable. Simple stories about real, complicated people trying to find a way forward, even if it’s not straightforward, are clearly my bag. And it looks great. It really puts you in a specific time and place that feels just right.
Why you’d like this movie: From the way the film was treated to even how it sounds, you’re fully in 1970. It’s funny, sweet and the acting is tremendous. It’s a really well-done feel-good film, and who isn’t in the mood for one of those?
Who’s it for: Anyone with a heart that needs a little uplifting. And anyone who appreciates film grain, costume design and retro fonts. And Paul Giamatti, who is always a treat.
Serious. And Seriously Great.
Flms that tell deep stories about the human condition that take hold of your emotions and make you think — but in a really worthwhile way
#7
Directed by Justine Triet.
Written by Justine Triet and Arthur Harari.
Logline: A woman is suspected of murder after her husband’s death, and their partially sighted son faces a moral dilemma as the main witness.
What I thought: Tremendous. Incredible script. An amazing, unforgettable performance by Sandra Hüller. And really tight directing. There’s so much to admire about this film — and I’m usually tough on court procedurals. I always feel like they’re full of exposition and can be a crutch — like talking to a therapist on film. Tropes, you know? But the court case was actually a vehicle to dive into a much deeper human truth about relationships and how viewpoints differ. It’s supremely well done, albeit a bit too long.
Why you’d like this movie: The French judicial system is really fascinating and entertaining, and works very well for a screenplay. Like, you can’t believe this is how laws are litigated in France, but they are, and it’s a blast.
Who’s it for: People who love court procedurals and stories that really make you think.
#6
Written and directed by Celine Song.
Logline: Childhood sweethearts from South Korea meet again in New York after decades apart.
What I thought: This story rocked my world. Just a slow burn filled with emotion, woven with restraint and anticipation. It reminded me thematically of “In the Mood For Love” by Wong Kar-Wai, one of my favorite films ever, in that you’re hoping for something to happen, but you know in the back of your head and heart that it’s wrong, and the story manipulates that emotion all the way through. It’s easy to get into, and the flipping from Korean to English is a big concept that drives the story. Celine Song’s screenplay is expertly written and navigated, with a level of subtlety that I wish I can get to in my own work.
Why you’d like this movie: It’s a love story that’s not really a love story. And it’s really easy to like every character in this movie. There’s no real villain. It’s time and distance that sets the conflict. And the movie lives within that subtlety.
Who’s it for: Anyone who digs unconventional love stories. And for people who love character dramas that speak to a human truth that anyone can appreciate.
Ridiculously Fun
Films that are so fun and well done that they deserve our admiration, even if they’re not for everyone.
#5
Written and directed by Cord Jefferson.
Logline: A novelist who’s fed up with the establishment profiting from “Black” entertainment uses a pen name to write a book that propels him to the heart of hypocrisy and the madness he claims to disdain.
What I thought: Always beware of writers being asked what they think about movies that are about writers. They usually love them. So not surprisingly, I found this movie to be witty, smart and disrupting, even if the plot was familiar (“Adaptation” and “The Producers” come to mind, and that’s high praise, to be honest). But you know what? That doesn’t matter, just because this film was so well made and likeable. It has a great tone and mood throughout. Also, I’d watch Jeffrey Wright in anything, knowing that he’s gonna raise the entire production. I had a smile on my face throughout the entire film, knowing that the craft of this story was in really good hands, and we were heading to a great place. And we got there. I loved this ending.
Why you’d like this movie: It’s really funny. And there’s a subversive bent to the entire story that is so enjoyable to experience.
Who’s it for: Not just writers, but for anyone who appreciates storytelling and the moral pursuits it chases. And Jeffrey Wright fans. And Sterling K. Brown, who delivers another monumental performance.
#4
Directed by Yorgos Lanthimos.
Written by Tony McNamara.
Logline: The incredible story of Belle Baxter, a young woman brought back to life by an eccentric but brilliant scientist, in a Victorian tale of love, discovery and scientific daring.
What I thought: This sure felt like a lot. Sometimes, it was a hat on a hat. But “Poor Things” was never boring. It was ambitious, funny, alluring, visually stunning and just downright fun. It’s completely ridiculous. But somehow, it all works. Lanthimos really has this style of storytelling down pat and Emma Stone is the perfect actress to tell these stories. She’s really great in this, and delivers an inconceiveable range to tell Bella’s emotional jourey. I don’t think this movie is for everyone. And I don’t think it’s one worthy enough to win Best Picture. But I do love that it’s nominated, because the trip he takes you on is a blast.
Why you’d like this movie: It’s funny. It has a lot of nudity and sex. It’s daring. It doesn’t apologize for being out there. It tells a really solid story about growth and emotional intelligence. And it has some really wild approaches in storytelling.
Who’s it for: Those who are open to being told a story they weren’t expecting, and getting weird. Like really weird. Like see this .gif below weird.
The Two Movies That Defined 2023
Films that pulled off a miracle: Huge blockbusters that doubled as sensational achievements in storytelling and craft.
#3
Directed by Greta Gerwig.
Written by Greta Gerwig and Noah Baumbach.
Logline: To live in Barbie Land is to be a perfect being in a perfect place. Unless you have a full-on existential crisis. Or you’re a Ken.
What I thought: Let’s just sit and think about what a remarkable achievement this movie is. This movie could have broken bad in a billion different ways. But it didn’t. It was smart, subversive, emotional and hit all the right notes. It took incredible amounts of bravery by Gerwig, Margot Robbie and Mattel to pull this off. And you know what? It’s endlessly fun, smart, hilarious, whimsical — but also serious about female empowerment and makes a really impactful statement. Bravo to Greta Gerwig and Noah Baumbach for going there and using “Barbie” as the vehicle. From the opening frames, I was sold. And I think that might be the best last line of a film since “Well, nobody’s perfect”. Margot Robbie and Ryan Gosling are pitch perfect in their roles. No matter if it wins the Oscar or not, I think five years from now, people will remember “Barbie” from this year.
Why you’d like this movie: I don’t know how you couldn’t, honestly. It just felt right, even if you’re not a “Barbie” fan. I wasn’t. I couldn’t care less about the brand. But it goes so far beyond that that I was hooked.
Who’s it for: You don’t have to be female to love this movie. You just need to be open-minded. If you are, you’re in for a huge treat.
#2
Written and directed by Christopher Nolan.
Logline: The story of American scientist J. Robert Oppenheimer and his role in the development of the atomic bomb.
What I thought: I’m in awe of Christopher Nolan. He goes out of his way to tackle really complicated stories, and he has a way to simplify it while keeping it emotional, human and relatable. There’s so much remarkable storytelling in this film that works as well as anything out there. Let’s be real here: This is going to win Best Picture and probably all of the other awards, and I can’t complain about it. I get it. However, the third act of the film doesn’t land the plane for me, and I had a big issue that they didn’t really go into the destruction that bomb caused. That was a huge emotional conflict they didn’t resolve or even address. But so much was achieved at the beginning to justify the accolades. And Cillian Murphy is incredible.
Why you’d like this movie: Have you ever seen a bad Christopher Nolan movie? That’s what I thought. Everything he’s made is thoughtful, challenging and yet direct and clear, even if you don’t think you’d be interested in the topic.
Who’s it for: It’s for anyone and everyone who wants to learn a little history and be entertained by it.
Hold on, again.
Before we move onto my favorite film of the year, both “Barbie” and “Oppenheimer” are extremely worthy of winning Best Picture. One will win it.
But when the dust is settled, and five years from now, when we remember this year, these two films will be what we think about. They will be the ones that immediately come to mind. 2023 will be the year of Barbieheimer.
But I don’t think they were the year’s best film.
This One Should Win, But Won’t
This was my favorite movie of the year, and the one that I think should win Best Picture. But if and when it doesn’t, I’ll be okay with it. There’s so many deserving films this year. But this one took the cake for me.
#1
Directed by Martin Scorcese.
Written by Eric Roth and Martin Scorcese.
Logline: Real love crosses paths with unspeakable betrayal as Mollie Burkhart, a member of the Osage Nation, fights to survive and bring to light the spree of greed-fueled murders committed against the Osage community after oil was discovered on their land.
What I thought: Yes. Hell yes. This movie is long (3.5 hours), but it doesn’t feel strung out. It felt right. Everything about this film is expertly done. The acting, specifically by DiCaprio, Gladstone and DeNiro, is a master class. It’s shocking to me that Leo wasn’t nominated. This might be his best performance yet in a legendary career. Gladstone is a powerhouse. The writing is spot on and always interesting and thoughtful and it kept things moving. And the fact that it didn’t feel like too much is a testament to the great Martin Scorcese, who still has it. The best part? Unlike “Oppenheimer”, this movie landed the ending. It’s amazing that Scorcese is still able to bring it at such a high level. For sure, he has his trademarks, but his films are such enjoyable rides to be on. And he films it to allow the setting and environment to be its own important character throughout.
Why you’d like this movie: It’s a masterclass in writing, directing, and acting. You’re constantly entertained. Every frame is expertly considered. It’s just stunning. And it’s a compelling chronicle of a terrible moment in American history that isn’t that far in our past.
Who’s it for: Anyone who appreciates seeing geniuses at work together. If you’re a Scorcese fan, and who isn’t, this is a must-see, and has to be considered one of his very best.
My Oscar Ballot
These aren’t predictions. These aren’t who I’d put money on to win. They’re just my favorites, and who I’d vote for if I had a ballot.
Best Picture: Killers of the Flower Moon, for me. But Oppenheimer will win. And Barbie deserves more serious consideration that what we’ve been hearing. I can clearly see a case for American Fiction and maybe Poor Things. And Anatomy of a Fall and Past Lives will have their ardent fans, and count me among them. Honestly, art is subjective, and if any of these films win, I’d be thrilled for the filmmakers. But Scorcese’s film was compelling, thoughtful, entertaining, superbly crafted and just didn’t have any holes, even with the long running time.
Best Director: Martin Scorcese (Killers of the Flower Moon) deserves it for making a 3.5 hour film that always felt emotional, moving and stunning to experience, with an endless trove of jawdropping performances. But Christopher Nolan (Oppenheimer) and Jonathan Glazer (The Zone of Interest) also delivered remarkable achievements in filmmaking, albeit in different ways.
Best Actor: I know he won’t win, but Jeffrey Wright (American Fiction) gave another incredible performance in a career full of them. But you can’t argue with how Cillian Murphy peppered the titular character in Oppenheimer with such depth and internal resonance.
Best Actress: Do you prefer the outrageous range of Emma Stone (Poor Things) or the subtle yet powerful performance of Lily Gladstone (Killers of the Flower Moon)? You can’t go wrong either way. And the one I prefere depends on which side of the bed I wake up on.
Best Supporting Actor: I thought Ryan Gosling (Barbie) was so outrageously entertaining, and delivered a Ken that nobody thought existed. Robert Downey Jr. (Oppenheimer) will win, however, and I didn’t realize it was him when watching the film, but I just didn’t connect with his storyline. And before we forget: Robert Deniro gives one of his finest performances in decades in Killers of the Flower Moon.
Best Supporting Actress: Da’Vine Joy Randolph (The Holdovers). End of story.
Best Original Screenplay: Justine Triet and Arthur Harari’s script for Anatomy of a Fall was colored with multi-layered nuances that weaved together in a compelling courthouse forum. Usually, I don’t like court procedurals, but she nailed this one. That being said, Celine Song’s Past Lives blew me away with its restraint and emotional power.
Best Adapted Screenplay: Greta Gerwig and Noah Baumbach crafted a brave and razor-sharp story for Barbie that I can’t believe they sold and made. Just an incredible achievement. Also, Cord Jefferson’s script for American Fiction had all of the things I love about writing.
My Final Cut
Look, this was a pretty great year for movies. So many represented the highest levels of storytelling. You’re going to be entertained in so many different ways (except, honestly, for The Zone of Interest). So make sure you check all of them out when you can. You’ll dig them. Trust me.
