Around this time every year, I ask myself, “Do I actually even like movies anymore?” I’ve seen all 10 nominees for Best Picture at this year’s Academy Awards and, as usual, I’m conflicted. Like I wrote last year, the Oscars often feel unique among award shows in the weight they give to the idea of “quality” compared to popularity.
Something like the Grammys, by contrast, feel like a totally different sport. I thoroughly enjoyed this year’s telecast of music’s biggest night, a nearly four-hour show that was approximately 75% performances by the brightest stars we all know and love, 15% jokes from host Trevor Noah, and at most 10% actual giving and receiving of little gold trophies. When awards were given out, they went to people like Kendrick Lamar, Sabrina Carpenter, Lady Gaga, Bruno Mars, Chappell Roan, and, of course, Beyoncé. I’ve heard of them.
No shade to films like The Brutalist or Anora, which are the likely favorites to take home the night’s most coveted prize, but more people probably heard “Not Like Us” performed just during the Super Bowl halftime show than have seen both those movies combined. And as much as their directors Brady Corbet and Sean Baker deserve recognition for their accomplishments, they’re not Beyoncé (though come to think of it, I’ve never seen them in the same room). And so, as I reflect on this particular batch of films, I ponder my interest in and appreciation of the form. The Oscars are telling me what I should appreciate and value, but why?
The 2025 Best Picture Nominees, Ranked
I typically say my criteria for evaluating movies includes focus on the entertainment value, story, and craft. I like to have fun at the cinema/on my couch; need some meat to the plot; and appreciate care being taken to present a visually impressive perspective. This time around, it feels like the Academy has completely thrown away the “fun factor” and mostly ignored storytelling in favor of the craft element for our 10 nominees. That isn’t all that unique of a lane for them to occupy, but in this year—my seventh year of consuming each of the supposed greatest works in cinema—this group is easily the most blah.
In a way, I respect it. We’ve been presented 10 inoffensive films that neither show off nor lag behind. In terms of having the most people leave the theater exactly 1% better than when they entered, we nailed it. But to me, the highs and lows (there’s always one bizarre choice) are simply not there.
I usually like to commit to a solidified one through 10 ranking, but I’m finding this to be a particularly difficult task this year. The middle ground is too full and only one of the contenders has separated itself in my eyes, so I’ve chosen to go a different route.
Here are my tier based ratings of the 2025 Best Picture nominees. I hope you enjoy!
Tier 5: Actually Bad
I might’ve ruined the surprise on this, but I want to be clear that I wouldn’t consider any of these films poor or below average. Most years, there’s at least one nominee that nearly bores me to death or takes risks that I feel don’t pay off. This batch of films has something for everyone; it just wasn’t always me.
Tier 4: So Close, Yet So Far
I wanted to like these films more than I did, but some peculiar choices in their execution left me wondering what could have been!
Nickel Boys
What is it? Nickel Boys is based on a 2019 novel of the same name which follows the journey of two Black teenage boys sent to an abusive reform school in Florida in the 1960s. While the characters and exact location are fictional, the story is based on a real school that operated from 1900 until 2011 which was found to be responsible for the deaths of hundreds of students.
What worked? The characters here, protagonists Elwood and Turner, are enjoyable to be around, and their developing friendship gives the film a tremendous amount of heart. The story itself drew me in and I was immediately invested in our leads while also wondering exactly how their stories would unfold. There are even brief moments of levity—often provided by Elwood’s grandmother Hattie—that give a real sense of life to what we see on screen.
What didn’t work? Much has been made of the style of this film, which was shot primarily in a first-person perspective to make the viewer feel like they are in Elwood’s shoes. I found this to be a fascinating choice and one that didn’t necessarily bother me (shout-out to watching movies with subtitles that tell you who’s speaking), but the overall flow of the film was inconsistent in part because of the viewpoint.
Occasionally, the film goes from Elwood’s perspective to Turner’s. It also sometimes flashes forward to “adult Elwood,” but strangely this is more of an over-the-shoulder shot that includes the back of his head. Other times we are shown television footage or images of space, typically without much lead-in or connectivity. When we do spend time with the boys, we’re along for a ride that is generally quiet, slow, and rarely engaging.
In many ways, I was reminded of last year’s The Zone of Interest, which followed a Nazi officer’s family life right outside of Auschwitz. What the films have in common is a shared understanding that we are painfully close to atrocities taking place, but we never actually see them. For that reason, neither fully clicked with me. It turns out for a visual medium, actually watching a story unfold in front of you is helpful!
The Substance
What is it? Demi Moore plays a fitness instructor on TV who turns 50 and is told by her network she is no longer right for their program given her undesirable appearance. After a minor accident, a nurse at her doctor’s office encourages her to investigate a back-alley drug that promises to revitalize her life by awakening, literally, a younger version of herself (Margaret Qualley).
What worked? The idea here is outstanding and as long as you can handle some gore, The Substance is stunning. Bright colors, over the top practical effects and gnarly body horror make this a visceral experience from start to finish. A key evolution on the basic premise halfway through leads to major conflict between the two leads, both of whom give outstanding performances. I loved the plot and found much of the underlying theme resonant as the film explored ideas around unrealistic beauty standards and the price of fame.
What didn’t work? Whereas Nickel Boys didn’t have much show or tell, The Substance is all show and no tell whatsoever. This film is strangely devoid of meaningful dialogue, which means that the majority of the on-screen action is a predictable exploration of the central idea behind the script. After consistently being warned that both versions of her “are one,” our hero is shocked to learn that there are consequences to her younger self’s actions. Uh oh, who could’ve seen that coming?! Couple that lack of depth with a final 30-45 minutes that goes completely off the rails and leans fully into body horror territory, and I was left underwhelmed with the overall product.
Anora
What is it? A sex worker from Brooklyn, Anora’s life is turned upside down when a member of a powerful Russian family becomes a client of hers. What starts as a simple transactional relationship between the two becomes a legitimate marriage when Anora and 21-year-old Vanya elope to Las Vegas and tie the knot. The whirlwind love story causes drama when Vanya’s parents find out and attempt to return their lives back to normal.
What worked? Of all this year’s nominees, Anora is easily the most accessible. It’s not a historical drama, sprawling musical, or sci-fi epic; it’s a movie about real people in present-day New York partying, falling in love, and not worrying about the consequences of their actions. While I haven’t ever personally been a sex worker or married the son of an oligarch, putting yourself in the couple’s shoes and understanding their motivations feels natural and easy to do. The story is flashy and over the top, but largely grounded in reality and overall mostly believable with solid writing in the form of witty dialogue and well-thought-out characters.
What didn’t work? This film is a prime example of the saying “It’s about the journey, not the destination.” Ultimately, nothing of consequence really happens during the nearly two-and-a-half-hour runtime. There’s lots of sex, drugs, drinking, and general debauchery, but at the end of our time with Anora, she’s back where she started, only a little sadder and a decent amount richer. It’s as simple as meet boy, get married, piss off parents, get paid to annul marriage, and go home, all within just a few weeks. The lack of meaningful situations leads to a tone that I found to be confusing and at times quite hard to grasp.
Given that the characters never seem to be in real danger, an argument could be made that the circumstances they find themselves in are quite funny. A slapstick home invasion, for instance, has clear cues encouraging laughter, but Anora herself is so genuinely terrified that it feels wrong to be anything but worried for her safety. I could have appreciated a more serious version here or a complete lean-in to the comedic side, but the middle ground Anora occupies meant it was destined to be a jack of all trades and master of none.
Tier 3: Tricky To Recommend
For the most part, I appreciated what these movies had to offer, but any recommendation would come with more than a few caveats.
Emilia Pérez
What is it? When a Mexican cartel leader sees a powerful lawyer win a high-profile case on TV, he abducts her and offers a proposition: Help him fake his own death, transition into a woman (the titular Emilia Pérez), and disappear, and she’ll be rich beyond belief. Unfortunately, issues arise when Emilia can’t help from re-inserting herself back into her family’s life, even though they have no awareness of her transition. Oh yeah, and it’s also a musical.
What worked? Though this story was unique and full of surprises, it moved with a pace that I found invigorating. I expected the majority of the film to focus on the actual transition process and the difficulty in concealing everything that was happening. Instead, Emilia was on screen by the 30-minute mark and we were already at least four or five songs in. From there, we experience plenty of drama, an unexpected love story, several more show-stopping performances, an intense shootout, Selena Gomez karaoke, and a massive fiery car crash. This movie has everything!
What didn’t work? Emilia Pérez, once the supposed front runner in the category, has taken several hits recently due to controversies relating to both the film and its star. Karla Sofia Gascon, the actress who portrayed Emilia, has essentially been sent packing by Netflix and was reportedly uninvited from several media appearances and award shows after old, offensive tweets recently resurfaced. Director Jacques Audiard has also come under fire due to his portrayals of Mexican culture and trans women, which he reportedly did little research into prior to the film. With all that in mind, it’s a tough movie to recommend, and the scattershot approach to storytelling and genre don’t help the cause much either.
The Brutalist
What is it? A nearly three-and-a-half-hour drama portraying a fictional architect from Hungary, Laszlo Toth (Adrian Brody), and his family as they escape Europe after surviving the Holocaust and try to start a new life in the Philadelphia area.
What worked? For a film this long, I was pleasantly surprised with my level of interest in basically the entire thing. I watched at home, where the impact was diminished, but I do want to acknowledge that there was a 15-minute intermission during screenings of The Brutalist in theaters. If you’re going to make a movie this brutally long (got ‘em), kudos for building in a bathroom break.
Beyond the runtime not becoming a factor in my enjoyment, the story here is quite affecting. While discussion of their time in concentration camps is limited, the story is a sobering look at the life of an immigrant to this country, particularly at a time where—in the Jewish Toth family’s case—they were essentially not welcome anywhere. The roller coaster we see of finding and losing work, ruining relationships, being reunited with family, drug addiction, and eventually great professional success always felt real, and the costs became clearer deeper and deeper into the journey.
This felt like something we would have watched in a high school history class about the impact of WWII, and I think I mean that as a compliment. It is clearly a grand achievement in moviemaking given the scope, and the performance by Brody is worthy of another Oscar win.
What didn’t work? Look, it’s almost three-and-a-half hours long which should honestly be a crime at this point. Why are we letting people get away with this? I’m not lying when I said I was entertained, but on principle I wish I wasn’t.
As the double-entendre name implies, much of the content of this story is quite brutal to watch. It shouldn’t be a surprise that this time period was difficult for Jewish immigrants attempting to rebuild their lives after the greatest atrocity the world has ever seen, but some of the content shown on screen is particularly troubling to witness. Not that the realism should be held against The Brutalist, but it doesn’t exactly make for an easy recommendation. Whoever wants to voluntarily sit through this thoroughly depressing epic tale on their next cross country flight, more power to you.
A Complete Unknown
What is it? Bob Dylan, ever heard of him? Boy wonder Timothée Chalamet plays the enigmatic singer as we take a look at his rise to fame through the music that inspired a generation. The film captures a thin slice of Dylan’s career, picking up in 1961 and showing a few key moments and relationships up until a controversial performance at the 1965 Newport Folk Festival where his use of an electric guitar (gasp!) angered a nation.
What worked? Well, obviously Timmy; what can’t that guy do? As someone who grew up listening to Bob Dylan, but never knew much about him, I appreciated the look back at this portion of his life and the fascinating energy that Chalamet gave to the portrayal. I’ve often imitated Dylan’s iconic mumble singing, but the attention paid to his attitude and mannerisms here was impressive and gave me a deeper appreciation of the talents of both of these men.
Though we clearly have no shortage of biopics focusing on troubled artists, they keep getting made because the beats are familiar and people like to relive important moments in their lives or learn about figures who were influential to their heroes. This example is clearly no different, as Dylan’s massive popularity as a new voice in folk music was on display in full force. His unique perspective on world events in the 1960s and new way of crafting thoughtful songs led many people to respect his voice almost immediately. In fact, according to the film, there’s very little struggle for Bob until after he’s a massive star and starts experimenting with different genres and sounds.
The movie shows a character who had such talent that he was almost destined to be the voice of a generation, and I think many people will find comfort in the positivity of the film to go along with the familiarity of the soundtrack.
What didn’t work? I should say many people over the age of 50 will find comfort in the film because certainly no one I know has any attachment to Dylan and his music. Chalamet alone might be a draw for some younger viewers, as he should be, but I don’t see myself shouting from the rooftops about A Complete Unknown.
Dylan is a complicated person and, as portrayed, not necessarily likable. His clear talent repeatedly gets him off the hook for his terse demeanor and distaste for convention. While I came away with more appreciation for what he meant to music, I’m not sure the film paints the portrait of someone I’d want to spend time around, which makes it a less-than-enjoyable watch in some parts.
For those without a connection to his music, they’re likely to watch this grumpy, mumbly vagabond without much admiration, and I can’t say I blame them. For me, I’ll let my parents know it’s worth a look, gladly hear their takes on the accuracy of the content, and that will conclude my relationship with this particular nominee.
Tier 2: Worth a Look
A solid runner-up tier of films I was engaged with and entertained by throughout, but probably won’t revisit.
Conclave
What is it? Based on a novel of the same name, Conclave is a fictional look at the process of selecting a new Pope—specifically, when the recently deceased Pope dies under somewhat mysterious circumstances and those closest to him all have secrets they might not want revealed.
What worked? I specified fictional in the previous section because I have no clue how this process is meant to play out in real life, but after seeing Conclave I actually wanted to learn more. I am not a religious person, so I came into my viewing somewhat skeptical that I would be able to follow or appreciate what I was going to see. A few minutes in I was still worried, given that a healthy percentage of the characters spoke Italian and the ones who didn’t kept using big words and calling everyone “eminence.” It didn’t take long, however, to become invested in a candidate and start eating up the gossip and mysteries between cardinals.
I believe that the set up could have pretty much worked in any profession given the strength of the writing and acting, particularly from the holy trinity of Ralph Fiennes, Stanley Tucci, and John Lithgow. I was hooked from start to finish, and when the twist ending came it genuinely surprised me. I feel I could easily encourage others to give Conclave a try.
What didn’t work? As I mentioned, the setting didn’t add much to the experience for me, though it didn’t necessarily take away from it either. It isn’t a world I’m connected to, so perhaps someone with more investment in the church would have been more deeply impacted by the way the story unfolded. I don’t have too many notes, but when reflecting on the staying power of this year’s nominees, I’m not sure Conclave will really stick with me for years to come. There is certainly a subversion of expectation at the end of the film, but it comes at the very end, with little exploration of the implication of this choice.
I couldn’t help but feel like there was more to unpack, which I suppose is a testament (that’s the extent of my religion puns) to the investment I felt, but unless there’s a Conclave 2 on the horizon I’ll be left largely unfulfilled by the conclusion.
Wicked
What is it? I mean, c’mon, where ya been? Wicked is a film adaptation of the hit Broadway musical, which is an adaptation of the 1995 Gregory Maguire novel about Elphaba a.k.a. the Wicked Witch of the West’s life before Dorothy murdered her in cold blood in The Wizard of Oz (also a film adaptation of a book, but you get the idea).
What worked? Though I loved The Wizard of Oz as a kid and have seen it many times, I had no relationship to Wicked in any of its forms before seeing this version. However, that didn’t stop me from having a great time diving back into this vibrant world full of singing, dancing, and talking animals (more on that later).
Cynthia Erivo and Ariana Grande have been making headlines for their somewhat strange press tour, but each of them shine here with countless scene-stealing moments throughout the adventure. It’s Ariana who blew me away the most though, as her comedic chops took center stage, particularly during “Popular.” Everyone knows she can sing and she does plenty of that, but if you haven’t paid attention to her SNL performances you might not realize how legitimately funny she can be. She had me cackling like a witch in the back of the theater, which isn’t something I can say for any other singular performance this year. I don’t know why we can’t reward humor the way we do serious drama, but maybe this gives us some hope!
What didn’t work? Without any attachment to the Broadway show and by extension its songs, there were a couple of portions I could’ve done without. For the most part, the music moves the story along well enough, but as with any musical, they won’t all be winners.
Speaking of moving the story along, I had absolutely no idea that the main plot revolves around a conspiracy to imprison all the remaining talking animals who live in Oz. Because I was unfamiliar with the source material, I couldn’t tell if this was true to the musical or completely added into the movie version. It seemingly comes directly from the show, but the way it is conveyed makes it feel like an out-of-place framing device that doesn’t fit with the rest of the action.
Beyond that, Wicked is a blast and clearly became a massive hit with audiences across the globe. Just don’t get me started on the wizard asking “What color should I make this brick road I’m building?!” Groan!!
I’m Still Here
What is it? Set in 1970s Brazil, I’m Still Here is an examination of the disappearance of former congressman Rubens Paiva through the eyes of his family after he is taken from his home by members of the military. This film is based on a true story, originally depicted in a novel by Paiva’s son Marcelo.
What worked? Of all the deeply serious films nominated for Best Picture this year, I’m Still Here might be the most intense. A particularly harrowing sequence near the beginning shows Paiva’s wife, Eunice, and her young daughter detained by the army for days with no explanation. Every shot of them in the narrow corridors, being escorted by guards, interrogated for hours, or shoved into dark cells is brutal to watch and conveys deep fear at every corner.
Yet, I probably laughed more at I’m Still Here than any other contender outside of Ariana in Wicked. The core theme here is family and the power that love can have even in times of struggle, uncertainty, and terror. Despite the tragedy that befalls their family, Eunice continues to fight for justice and provide for her children all while maintaining her composure and appearing unphased. We still see moments of joy and humor between all the devastation, in large part because it is her love that conquers all. It’s a beautiful message and one that easily brought me to tears in between chuckles, a rare combination among this collection of mediocre nominees.
What didn’t work? Once again, this section is less about the shortcomings of the particular movie and more about who its audience might be. Given the heavy themes of the story and largely serious tone, I would hesitate to ever wholeheartedly recommend it to someone without first warning them about the hardships they’re about to witness. It’s a poignant and devastating film that I can’t see improving on significantly, but it’s also hard for me to sit here and say “That rocked. Don’t walk, run to the theater!”
Tier 1: Lisan al-Gaib
There can only be one savior!
Dune: Part Two
What is it? The sequel to the 2021 film Dune, which itself was a reimagining of the series of novels by Frank Herbert. The stories are described as an “epic space opera” filled with all the sci-fi goodness you could ever want.
What worked? Dune: Part Two was released in March 2024, which means it has been almost a full year since I saw it in the theater. Even with the extended gap between my viewing and this writing, I am still struck by the impeccably well-rounded package that this film is.
For the fans of the series or sci-fi in general, there’s plenty of lore to sink your teeth into and get lost in. I can hardly recount all the finer plot points, but it doesn’t matter to my enjoyment of the final product. If you’re just there for the action, look no further than Austin Butler’s creepy Feyd-Rautha and his arena battle scene or Timothée Chalamet’s Paul Atreides taming a sand worm in front of a crowd of cheering onlookers. Or, if you’re desperate for some romance, my favorite scene happens right at the end when, during the beginning of a literal holy war, Zendaya’s character Chani is so upset Paul chose another woman over her that she’s like “Eff this, I’m out!” That’s not to mention the sheer vastness of the production in general and the massive undertaking that a movie like this represents.
Every piece of Dune: Part Two is done the best it could be, from costumes to sound to set pieces and beyond. It is the perfect representation of the intersection between craft and entertainment, and I believe it deserves recognition for that achievement.
What didn’t work? I know, what a shock that the guy writing for a video game website picked the nerdy sci-fi movie as his favorite of the year. Touché. But the fact is, I truly believe this movie can be enjoyed by anyone who goes into it with an open mind. Outside of blindly disliking the genre or maybe being grossed out by the Shai-hulud popcorn bucket, I don’t see someone walking away from the movie without at least some appreciation of the work put into it.
Which Best Picture Nom Will Actually Win?
Well, if I had my way, of course we’d see a sweep by Dune: Part Two, but that seems unlikely. It should (deservedly) win some technical categories, but I expect Best Picture to go in a different direction. Though Anora appears to be gaining momentum lately in the wake of the Emilia Pérez implosion, I still feel that The Brutalist is the most Oscar-y movie of the bunch.
Regardless of which film comes out on top, this award cycle seems to be the most up-in-the-air in a long time, which should hopefully make for some fun surprises and good TV. I look forward to tuning in this weekend, and I hope you enjoy the Oscars too!
