The 97th Academy Awards are just around the corner, airing March 2nd, thankfully on Hulu so I can stop creating new emails for a free trial of YouTube TV. Needless to say, the race this year has been nothing short of a roller coaster, with news about each film and their nominees hitting the headlines each and every day. Earlier this year, I made my selections on who I was rooting for during the Oscars, giving my reasons why each film or performance stood out to me. With the awards headed our way, I wanted to share my ranking of this year’s Best Picture nominees.
There’s only one film on this list that I saw only once; thankfully, I am making this list after sitting with each film several times to explore their themes.
10. Emilia Pérez – Dir. Jacques Audiard
There’s unfortunately not much that I found enjoyable from Emilia Pérez outside of a couple of the film’s more catchy songs. Being a few months removed from the first and only time I’ve viewed it doesn’t help as the worst moments are what stick out the most. There is an interesting story within the film Emilia Pérez that gets lost in a script that is trying to do too much and uneven characterizations of its cast.
From my review: Emilia Pérez has tunes that have been stuck in my head since viewing the film, and visuals that elevate a much-desired script. Unfortunately, the film has too many regressive moments for its main characters, especially its titular character, that make any positive foot ahead for them fall flat. Audiard loses focus with the blend of genres that with a lesser cast would’ve suffered even greater.
9. A Complete Unknown – Dir. James Mangold
There’s no other film on this list that can be defined as just “fine” as A Complete Unknown. From all merits it’s competently made, well acted, and plays a song or two you will recognize. Mangold brings together a skilled cast including Timothée Chalamet as Bob Dylan, to tell the story of one of America’s greatest folk musicians. While the film has it’s entertaining moments with head bobbing music, the films pacing has even the best set list go on for far too long.
The highlight of A Complete Unknown comes from the undeniable chemistry between Timothée Chalamet and Monica Barbaro, who plays one of Dylan’s many love interests, Joan Baez. Often stealing the spotlight from Chalamet with her magnetic performance as the elusive songbird, their work—mainly during duets—brings much-needed drama to the film when it most desperately needs it.
8. Wicked – Dir, John M. Chu
As a newcomer to the wonderful world of Wicked, it was easy to get lost in the vast corridors of Shiz University, and even though I didn’t know a single song, I was tapping my foot along as if I did. Cynthia Erivo and Ariana Grande were a match made in heaven, and if their roles of Elphaba and Glinda were played by anyone else, I couldn’t see myself enjoying the film as much as I did. Their chemistry as enemies to friends, to foes again was palpable, and I was completely on board for the emotional ride.
Where Wicked failed to really blow me away was from a visual perspective, to the point where it doesn’t allow the film to be as glorious as its potential. The cinematography for the majority of the film doesn’t evoke any type of emotion, and the color grading washes out the highly detailed costuming work. Although it’s not nearly as washed out and gray-toned as some of the promo trailers made it seem, it was disappointing to say the least. Outside of the film’s story, there’s little visual comparison between Wicked and The Wizard of Oz, while the latter is beautiful beyond words.
7. Conclave – Dir, Edward Berger
Being in one of the first crowds to see Conclave was a treat, and to see the pop culture phenomenon it has become has been so fun. As someone who is not religious it’s interesting to glimpse into the world of those who are, and Berger gives us just that in Conclave. It’s easy to get lost in the world of the papacy, especially with its snappy script and decadent costuming.
Top 25 of 2024 Thoughts: Who knew that the cardinals could be so petty? So messy? Not me! Edward Berger brings us non-enlightened folks into the sacred duty of picking a new pope, and are the politics ever at play. This was a film I had no idea was a thing until I was attempting to buy a ticket at TIFF24 this year. I was instantly sold seeing a picture of Ralph Fiennes dripped out in red. This film has been my number one recommended movie to any and all family members; it’s meticulously made, highly entertaining, and holds just enough fantasy in the conclave ritual to keep you guessing.
6. The Brutalist – Dir, Brady Corbet
It’s been a few months since I last saw The Brutalist, and each time I reflect on the film, I walk away with new thoughts and even feelings about it. The film shows how powerful art transcends time, brilliant minds, and the trauma captured within them, paired with a triumphant score that fits the film so uniquely.
Top 25 of 2024 Thoughts: Forever grateful to whatever powers that be for my being able to experience this film in 70mm at the Toronto International Film Festival. If there’s one thing about me, it’s that I love long movies that are also devastating to some degree. Admittedly, this was my first Corbet film, and needless to say, I was highly impressed. It’s one of those films that I don’t even feel intelligent enough to speak about. What I loved is how it explores art and its enduring nature; it transcends time, standing staunchly in its meaning. That beautiful Vista Vision was a theater-going experience that I won’t forget for a long time, grateful to catch this art in my life in its finest form.
5. DUNE: Part Two – Dir, Denis Villeneuve
It’s hard to believe it’s been a full year since the second entry into the DUNE universe released in theaters. Bigger in all aspects, DUNE: Part Two is a visual sci-fi epic that brings some of the best new faces in Hollywood together. It serves as a reminder of the importance of IMAX screens and the power of the cinematic experience with its stunning visuals and rich score.
Top 25 of 2024 Thoughts: This has been in my top 5 basically since I first watched it, and after rewatching it fairly recently, its spot is not moving. I’ve never been a huge sci-fi person, but the mysticism surrounding the DUNE universe intrigues me to no end. Have I finished the books? Mind your own business! But the films are monumental to me. The scale of the battles, the way the women are truly the players of the game, and the politics of it all have a grip on me I can’t explain. Timothée Chalamet and the “I’m him” moment he has near the end of DUNE: Part Two reverberates in my brain daily.
4. Anora – Dir, Sean Baker
There is an infectious nature about Mikey Madison in Anora that made me want to push through life’s many obstacles alongside her, while simultaneously giving her the biggest hug possible. Her ability to play Ani in such a flawed and human way makes it obvious why Anora has swept the awards circuit thus far. It’s well-structured, well-written, and has a lead that captures your heart from the moment she appears.
From my TIFF24 review: Overall Anora is a film that hasn’t left my mind since seeing it at the Toronto International Film Festival this year. Its highs are soaring, but its lows are deep, leaving us with a final shot that lingers long after the film ends. Sean Baker continues his streak of spotlighting stories of groups often overlooked. Madison gives a performance that will be spoken about for years to come with her portrayal of a vivacious woman who knows her value.
3. Nickel Boys – Dir, RaMell Ross
To be able to understand history, we must be able to empathize with those who have experienced injustice. What Nickel Boys does so incredibly well is establish a perspective for its viewer that puts them right in the driver’s seat, without the means to control the car. You are helpless to the situations and their outcomes, and the lessons learned from the film depend completely on your ability to feel for another human.
Top 25 of 2024 Thoughts: Nickel Boys is unlike anything I’ve seen this year, and if you take this list as a recommendation this one is a must see. One of the most singular film going experiences of the year, shot in the first person for the majority of the movie, allowing you to feel the film with all of your senses. The cinematography took some getting used to, but it’s utilized so well to make the film immersive. Ross’s use of archival footage is a devastating real world tie in that grounds the film.
2. I’m Still Here – Dir, Walter Salles
There’s no film from last year that is more poignant than Walter Salles’ I’m Still Here. A family’s most intimate moments of joy and love mask the pain of oppression in 1970s Brazil, serving as a reminder that life can change at any moment and highlighting the importance of maintaining memories of those most important to us. Salles tells the powerful story of the Paiva family and their enduring strength to continue fighting against those in power for the truth.
Led by a powerhouse performance from Fernanda Torres, she perfectly captures a mother and wife seeking answers for the disappearance of her husband. She provides an important perspective with her portrayal of Eunice Paiva, shedding light on the dictatorial government of the time. Torres has a duality in the film, where she must maintain a cheerful and warm presence for her younger children, but a hardened stability to fight for her husband.
1. The Substance – Dir, Coralie Fargeat
It’s hard to talk about The Substance without getting emotional; it’s a film that I never thought would touch my soul so deeply. It encapsulates years, decades at this point, of thoughts and emotions that myself and friends have experienced from our unique perspective as women. What Fargeat, Moore, and Qualley achieved with this film is special and has created a pop culture sensation in itself. Its witty humor and stylistic aesthetic had me hooked from the first trailer,
Top 25 of 2024 Thoughts: Let me be the first to say that I don’t have a lot of experience with body horror; my frame of reference for it is very surface level. So when I sat for an evening screening of The Substance, I was expecting something gnarly and hard to watch. But when the film ended, I was a pool of my own tears in my favorite reserved seat. I know it’s been talked to death, but Elisabeth locking herself away in her bathroom, hating her reflection, seeking comfort but not feeling worthy of it floored me. If a woman as beautiful as Demi Moore felt these same feelings I had, maybe my insecurities seem just as silly to another. I felt seen in a way I haven’t before with a film; female filmmakers rule.
Check out my predictions, and reactions to all major categories here!
A film lover from Mid Michigan who is a voting member of Michigan Movie Critics Guild, and North American Film Critics Association.
Leave a Reply