The Oscars and Me, 2025
Here’s my take on the Best Picture nominees for films that premiered in 2024.
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.
I missed two.
Sorry, ”Wicked”. Maybe one day I’ll spend three hours watching a musical prequel to “The Wizard of Oz”. But I just couldn’t find the time.
And sorry, “I’m Still Here”. I truly wish you had been VOD, but your marketing and distribution really sucked. There’s no excuse to not be out before the Oscars, when demand is highest. I might have even paid for it. Have fun with your limited theatrical release.
Here are eight of your ten nominees for Best Picture. Congratulations to everyone involved with these films. They’re all remarkable achievements.
Okay, let’s get at it.
A Big Swing and a Miss
This movie should be acclaimed for the gamble it took. It didn’t work out, but we need big swings like this.
EMILIA PEREZ
Written and Directed by Jacques Audiard.
Logline: A Mexican lawyer is offered an unusual job to help a notorious cartel boss retire and transition into living as a woman, fulfilling a long-held desire.
What I thought: What the logline doesn’t tell you is that it’s a musical. Or, rather, that there’s musical pieces in it. But the songs aren’t catchy. And they don’t tell you anything you don’t already know. And they interrupt the flow of the story. And there’s no reason to have them. So each time one of those songs comes on, it takes you out of it. And this happens again and again. But beyond that, I thought Zoe Saldana was incredible, and she stole every scene she was in. She’s a revelation that she could pull a part like this off. The movie itself beyond that was compelling. And, when you think about it a little but afterwards, very problematic. So it’s conflicting.
Why you’d like this movie: Zoe Saldana, first and foremost. And there’s some really remarkable scenes in this film. Honestly, it’s definitely entertaining, and the plot is clear and tension is thick, and there’s a lot to like. And then there’s other things.
Who’s it for: Well, it’s definitely not for Mexican people, who hated how they and their culture were portrayed. And definitely not for Transgender people either, who hated how they were portrayed too, and I get it. And there’s most definitely a big moral issue that the main character grapples with that’s, well, shall we say, problematic. But some people really love it. And honestly, I liked big parts of this movie. You should check it out. It’s just…well, it’s something.
Beautiful in Vastly Different Ways
These two films are pure eye candy but also delivered in plot and human truths.
THE SUBSTANCE
Written and directed by Coralie Fargeat
Logline: A fading celebrity takes a black-market drug: a cell-replicating substance that temporarily creates a younger, better version of herself.
What I thought: This was a lot. So much of this was a lot in a good way. And it makes a really deep and scathing critique into Hollywood’s obsession with youth and female beauty. Demi Moore and Margaret Qualley are phenomenal in this film, and I’m shocked that Qualley didn’t earn a nomination. The makeup, hair and special effects are also stunning. And the overall aesthetic was disarmingly gorgeous. But don’t be confused: There’s some horrifying, bloody shit in this movie, and it definitely goes overboard in the end because it has to. It was just a lot. Maybe even a lot of a lot.
Why you’d like this movie: Moore and Qualley are intoxicating to watch. It’s relentlessly entertaining and visually delicious, and if you have the stomach to take the blood and gore, you’ll sink yourself into it. The only question is where’s your limit? Because Fargeat didn’t keep any when she wrote and directed it.
Who’s it for: Anyone who loves blood, gore, horror films and all things Demi.
DUNE PART TWO
Directed by Denis Villeneuve
Written by Denis Villeneuve, Jon Spaihts and Frank Herbert
Logline: Paul Atreides unites with Chani and the Fremen while seeking revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the universe, he must prevent a terrible future only he can foresee.
What I thought: Well, I hated “Dune 1”. Maybe “hate” is a strong word, but it bored me to death. So I watched this “Dune 1” recap video and I’m so happy I did. Turns out I didn’t miss much, but I did get a good layer of background. And you know what? This movie rocked. It was emotional and action-packed, and I fell into the chemistry and tension between Timothee Chalamet and Zendaya. I was able to follow along like I had been there the whole time. And it was a gorgeous film to watch. I read an essay where Steven Speilberg commended Villeneuve for treating these rolling sand dunes like they’re waves of water — because water is what they really needed. And he’s right. The locations they picked were remarkable — but nowhere near as incredible as the sandworm scene from the gif above. IYKYK. Yeah, I went from being bored to being on board with this trilogy.
Why you’d like this movie: It’s fun, action-packed, filled with moral intrigue and, like I said, the locations are eye candy, considering it’s the desert. I feel like this is the best version of this story that anyone could tell — and it’s a really good story. And the fight scenes are really extraordinarily choreographed. And that sandworm scene!
Who’s it for: Science fiction fanatics. Chalamet fangirls. Zendaya fanboys. Cinematography freaks. And anyone who doesn’t mind escaping this planet for another one for three hours.
Before We Move On…
Let’s talk about three movies that deserved nominations but didn’t. Here’s some quick reviews and recommendations.
THE WILD ROBOT
Logline: After a shipwreck, an intelligent robot is stranded on an uninhabited island. To survive the harsh surroundings, she bonds with the native animals and cares for an orphaned baby goose.
Why It deserved a nomination: It made me want to cry my eyes out.
SATURDAY NIGHT
Logline: Tensions run high as producer Lorne Michaels and a ferocious troupe of young comedians and writers prepare for the first broadcast of “Saturday Night Live” on Oct. 11, 1975.
Why It deserved a nomination: It perfectly encapsulates the fun, chaos and limitless things that can go wrong when putting an SNL episode on the air. Imagine doing that for the first show ever? And imagine a film making you feel like you’re right there, beside Lorne.
CHALLENGERS
Logline: Tashi, a tennis player turned coach, has transformed her husband from a mediocre player into a world-famous grand slam champion. To jolt him out of his recent losing streak, she makes him play a challenger event — close to the lowest level of tournament on the pro tour. Tensions soon run high when he finds himself standing across the net from the once-promising, now burnt-out Patrick, his former best friend and Tashi’s former boyfriend.
Why It deserved a nomination: Brilliant writing, directing, cinematography and acting — and maybe the best score of the entire year. Zero nominations is a crime. This movie is a fun and sexy ride that throws visuals at you like you’ve never experienced before.
Okay, back to the actually nominated.
SUPER SOLID IN EVERY SINGLE WAY
This film got everything right — and even threw in some surprises.
CONCLAVE
Directed by Edward Berger
Written by Peter Straughan
Logline: Cardinal Lawrence has one of the world’s most secretive and ancient events, participating in the selection of a new pope. Surrounded by powerful religious leaders in the halls of the Vatican, he soon uncovers a trail of deep secrets that could shake the very foundation of the Roman Catholic Church.
What I thought: That logline doesn’t sound fun or light, yes? But guess what? It actually is. Ralph Fiennes plays it straight for others to have fun — like Stanley Tucci and John Lithgow. It’s not exactly funny, but the light human moments are really great. Berger’s a phenomenal director and is able to take something dark and tense and find unexpected paths to express it. I really enjoyed every second of this film, and I laughed my ass off at the ending. They absolutely landed the plane.
Why you’d like this movie: It’s not what you’d think. It’s way more entertaining. And it’s got Tucci.
Who’s it for: People who just want to watch a really good movie presented by an expert storyteller.
Whoa, we’re here. OK. Buckle up.
AND THE WINNER WILL BE…
The answer resides in what you look for in greatness. What you’ll find is these three films share one trait: Ambition.
So, do you prefer your Best Picture Winner to be a wildly ambitious ride that takes unexpected twists and turns? Have I got the movie for you.
ANORA
Written and directed by Sean Baker.
Logline: A young escort from Brooklyn meets and impulsively marries the son of a Russian oligarch. Once the news reaches Russia, her fairy tale is threatened as his parents set out for New York to get the marriage annulled.
What I thought: Absolutely the most fun I’ve had watching a movie this year. And the thing is that it’s actually three short films: A rom com, a slapstick comedy and a chase film that all tie together. And they do all three really well. Mikey Madison gave the best acting performance I saw this year, and you just can’t take your eyes off her. Her husband (Mark Eydelshteyn) is hilarious. And Yura Borisov delivers a career-making turn that I can’t get into here because I don’t want to spoil anything. Sean Baker really knows what he’s doing, and his run-and-gun style of filmmaking plays perfectly for stories like this. This movie is romantic, heartbreaking, funny, exciting and a whole lot of many other things. Like sex. There’s a ton of sex in this film.
Why you’d like this movie: It’s fun! There’s much to like, and something for everyone. And Mikey Madison is an absolute joy. The three young leads have bright futures, and you can say this movie will have jumpstarted them.
Who’s it for: Diehard romantics. Comedy fans. Thrillseekers. And those who just love unique stories.
Or do you prefer your Best Picture Winner to be an ambitious take on a complicated character? Well, look what I’ve got for you.
A COMPLETE UNKNOWN
Directed by James Mangold.
Written by James Mangold and Jay Cocks.
Logline: In the early 1960s, 19-year-old Bob Dylan arrives in New York with his guitar and revolutionary talent, destined to change the course of American music. Forming his most intimate relationships during his rise to fame, he grows restless with the folk movement, making a controversial choice that reverberates worldwide.
What I thought: Most of you probably know the arc of this story. Maybe not the details, but Dylan going electric was a big thing then and now. And the movie doesn’t hide it. But what it gets into is the details and the character study of a burgeoning musical genius. And you know what? He was an asshole. And having an asshole as the protagonist is fun to watch. Like, uproariously fun. Timothee Chalamet gives the performance of a lifetime, as does Monica Barbaro. Their chemistry is off the charts. And their musical performances are, dare I say, better than the original? I’d probably watch this more than once, and that’s a big compliment. There are holes in this film, for sure, but overall, I left this movie feeling fulfilled in many different ways.
Why you’d like this movie: The music is great. And the performances really stick with you. And you know what? At any point of his life and career, Bob Dylan remains a tremendous subject for a movie. Plus, James Mangold was born to make musical biopics like this. This takes his “Walk the Line” masterpiece and ups the ante.
Who’s it for: This is clearly the film with the most to offer for a general audience, and it won’t disappoint. I don’t know who it’s not for, to be honest. Some of the details and facts were altered to tell a better story, so historians might not like it. But it’s for everyone.
But whoa, wait…
What if you prefer your Best Picture Winner to be creatively audacious and endlessly ambitious? Well, you’re in luck.
The Brutalist
Directed by Brady Corbet.
Written by Brady Corbet and Mona Fastvold.
Logline: When a visionary architect and his wife flee post-war Europe in 1947 to rebuild their legacy and witness the evolution of the modern United States, their lives are changed forever by a mysterious, wealthy client.
What I thought: I’m sure you know and are very concerned that this movie is almost four hours long. What you might not know is that it doesn’t drag. It’s constantly moving forward and engaging. It’s visually exceptional, with architecture(!) taking the lead. But you can’t escape the trauma and grief of these characters. Those profound emotions permeate everything you see, hear and feel. Adrien Brody delivers another performance of a lifetime, as does Guy Pearce, who steals the show. It’s definitely a slow burn, but it never loses your attention and, again, the length isn’t a problem. My only issue is that I think the ending was rushed. I wish they spent more time on it. Why not go the extra couple of minutes? It just felt off. It didn’t land the plane. But everything up to that point was absolutely sensational. Filmmaker Brady Corbet talks about this movie being an allegory for the creative process. I get it. I totally feel that.
Why you’d like this movie: It’s audacious to think you can make a four hour movie about these topics and it works. Brody and Pearce pop off the screen. The architecture, cinematography and the score are exceptional. And a four hour movie is as audacious as you’re gonna get. But you also have to prepare yourself for an excruciating emotional journey.
Who’s it for: Creatives. Filmmakers. People who are overachievers. Those with the flu and who have four hours to kill.
So if your choice for Best Picture circles around whatever type of ambitious movie you like, here’s three. And I’d be happy if any of them won the Oscar for Best Picture.
But the thing is, none of those three were the best film made this season.
Instead…
THE WINNER SHOULD BE…
Nickel Boys
Directed by RaMell Ross.
Written by RaMell Ross, Joslyn Barnes and Colson Whitehead.
Logline: Elwood Curtis’ college dreams are shattered when he’s sentenced to Nickel Academy, a brutal reformatory in the Jim Crow South. Clinging to his optimistic worldview, Elwood strikes up a friendship with Turner, a fellow Black teen who dispenses fundamental tips for survival.
What I thought: It’s one of the most inventive films I’ve ever seen. Full transparency: I read the Pulitzer Prize-winning book, and so should you. And still, because of the filmmaking choices, the story felt fresh and unexpected and emotional in brand new ways. I wish I could tell you more, but I don’t want to spoil anything. However, the way Ross expresses grief through the viewpoint of the characters is groundbreaking, thoughtful and eerily personal. The emotional rollercoaster takes an even greater significance through what you’re avoiding to see. It took me about ten minutes for me to wrap my head around how this story was being told, but once I did, it was a trip. And what a story, based on the true horrors that took place at the Dozier School for Boys in Florida. Ross learned that instead adapting a historical novel into a movie, he was more indebted to the true story that inspired the book than the book itself, and that opened him up to a new way of expressing the story. And did he ever.
Why you’d like this movie: You’ve never seen a movie like this. And once you get your head around the mechanics, it works and it hits hard. It’s the best film of this year.
Who’s it for: If you read the book, you need to see this movie, and it’ll still feel new. If you haven’t read the book, that’s even better, because the ride he’s taking you on will grab you even tighter.
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.
And my Oscar goes to…
Best Picture: Nickel Boys
Best Director: RaMell Ross (“Nickel Boys”)
Hold on. It’s fucking bonkers that RaMell Ross isn’t nominated for Best Director. He tried something crazy ambitious and pulled it off — and it was the right choice. Hands down, his film featured the best directing.
OK, rant over. Back to the actual nominees:
Best Director: Brady Corbet (“The Brutalist”)
Best Actor: Timothee Chalamet (“A Complete Unknown”). All the hype is that it’s between him and Adrien Brody (“The Brutalist”), but I want to add the very worthy Colman Domingo (“Sing Sing”) into that conversation.
Best Actress: Mikey Madison (“Anora”).
Best Supporting Actor: Guy Pearce (“The Brutalist”). Kieran Culkin is gonna win for “A Real Pain” but he’s just playing a different shade of Roman Roy, to be honest. And that’s fun! But go watch “The Brutalist”, and you try telling me Guy Pearce isn’t the man.
Best Supporting Actress: Zoe Saldana (“Emilia Perez”). But mad props to Monica Barbaro (“A Complete Unknown”).
Best Original Screenplay: Sean Baker (“Anora”)
Best Adapted Screenplay: Peter Straughan (“Conclave”), based on the novel by Richard Harris.
My Final Cut
There were a bunch of really good movies this year, even beyond the ones I mentioned above. If you’re into horror, check out “I Saw The TV Glow” and “Late Night with the Devil”. Like courtroom dramas? “Juror #2” is unlike any one you’ve ever seen. “A Different Man” gives an exceptional performance by Sebastian Stan. “Sing Sing” is emotional and reserved and an unconventional way to tell a story about vulnerability.
I don’t think there are many rewatchables in this group, however, although “A Complete Unknown” and “Anora” would be the closest.
But “Nickel Boys” is gonna stick with me for a long long time.
And that’s truly how you define award worthy.
