The Oscars 2024 in a Nutshell

Here we go. With an hour left before the ceremony kicks off, I have watched all 53 nominees so you don't have to. Headlines: There's a lot of good stuff here and very little to dislike. You can find my full rankings here.

SHORT FILMS

Friends, I won't lie to you. The short categories are absolute chaos every year. The worst two are current top choices to win. I post the below with little to no confidence (Short ranks here).

ANIMATED SHORT FILM

Letter to a Pig has the most interesting animation (of the good options - Our Uniform has more interesting animation, but the film feels only a moment long). Ninety-Five Senses is the best story and most enjoyable. War is Over! is terrible but has some bizarre mass appeal because of its warm, fuzzy approach to how we end war (just be nicer! It's so easy!).

Will Win: War is Over!

Should Win: Ninety-Five Senses

LIVE ACTION SHORT FILM

I'm convinced The After is a joke that got out of hand and Red White and Blue (which may still win...) tries to hard to be shocking to win an argument rather than engage fully in the debate. The other three are great, but Henry Sugar is in a different league. It is a visual delight from beginning to end with great performances throughout. It goes to show what a veteran of Hollywood can bring to shortform storytelling.

Will Win: The Wonderful Story of Henry Sugar

Should Win: The Wonderful Story of Henry Sugar

DOCUMENTARY SHORT FILM

The ABCs of Book Burning states facts with no reasons and expects you to be outraged. This is lazy film making and its nomination is an outrage. Island in Between is a little bit nothing. Nai Nai and Wai Po is an absolute joy and The Barber of Little Rock gives exposure to a great cause. For me, however, the warmth, love, and commitment shown in The Last Repair Shop captures the importance of access to the arts. It feels like it actually says something and that, if nothing else, should be commended. 

Will Win: The ABCs of Book Burning 

Should Win: The Last Repair Shop

FEATURE LENGTH FILMS

COSTUME DESIGN

Okay, so time for a bit of Poor Things love. The costumes were so good and totally unique. Barbie could upset here, but in essence there was a lot of 'recreating' of existing costumes - they are just a lot smaller normally...

Will Win: Barbie

Should Win: Poor Things

MAKEUP AND HAIRSTYLING

A category that often contains a stinking film,  and this year is no exception with my least favourite, Golda. Mirren's make-up is impressive, but no more so than Cooper in Maestro and  less so than Dafoe in Poor Things. Society of the Snow is impressive due to how integrated across the whole film it is. Not one cast member or moment stands out but everything feels real throughout. I imagine many will be persuaded by one of the more obvious and flashy choices, and boy is Dafoe's make-up great, so I'm not upset with a Poor Things win.

Will Win: Poor Things

Should Win: Society of the Snow

PRODUCTION DESIGN

A two horse race between the two 'world-building' films here, Barbie and Poor Things. For the latter, that world is the whole film and therefore drips from every scene. In the former, the world is half the film and often based on existing intellectual property. Yes it brings it to life, but the originality of Poor Things should win out here. 

Will Win: Barbie

Should Win: Poor Things

CINEMATOGRAPHY

Poor Things is in the discussion here (but why isn't Lo Capitano?!) but I think it is too funky for the mass appeal needed to win. Maestro has a lot of great cinematography but it is also disjointed and unsure quite what it is doing. At the other end of the scale, Oppenheimer is a technical marvel. Glorious looking at all times, which is quite the feat when you consider how much of it is spent in small rooms as men discuss nuclear warfare. 

Will Win: Oppenheimer

Should Win: Oppenheimer

SOUND

Are we really going to discuss this? Oppenheimer, being the technical masterpiece it is, could snag this, but this should be Zone of Interest's; a film that develops its narrative power through the use of sound. It makes the audience complicit in atrocities by exposing them to the noise of horror whilst they enjoy the beauty and peace the other side of the wall. This feels like what this award is for. 

Will Win: The Zone of Interest

Should Win: The Zone of Interest

MUSIC (ORIGINAL SCORE)

In my study, I've enjoyed the American Fiction jazz score  but i cant say i noticed its impact during the film (unlike some of the animated options - Spider-Man, The Boy and the Heron, and Robot Dreams). Indy's score is... well... Indiana Jones. It does not deserve to be nominated in 2024. The other three are great scores. Poor Things and Killers really set the tone for the world they create an atmosphere for, but Oppenheimer's score does a lot of the heavy lifting for a weighty film. Atoms collide and worlds are destroyed as the swelling sound of Göransson envelops the viewer, making them less of a watcher and as much a hearer, an experiencer.

Will Win: Oppenheimer

Should Win: Oppenheimer

MUSIC (ORIGINAL SONG)

Can I be frank? I think Original Song is a dull category. More than half the time they're credit songs which offer little to the film (unless we're talking Bond themes which can set the tone) and if a credit song beats out something that actually added narrative weight to a film, it feels unjust (well, to me at least). The Barbie songs are narrative songs and deserve to win. Of the two, What Was I Made For was the better song even if I'm Just Ken is more fun.

Will Win: What Was I Made For

Should Win: What Was I Made For

VISUAL EFFECTS

This is a really tough one. I loved Godzilla. It was one of my top films of the nominees and it had incredible visual effects done on a shoe-string budget. On the other hand, The Creator also did masses with very little and it looks incredible. There's so much CGI, used so well and so creatively to build the world, that it cannot be ignored. I'm glad I don't actually have to cast my vote. 

Will Win: The Creator

Should Win: Can I call for a tie? Fine... The Creator

FILM EDITING

I'm no editor and great editing is unseen but a big part of editing must be the pacing. To make a dialogue heavy three-hour epic is feat barely attempted and should not be attempted without an editor who can make those three-hours fly by. Both Killers of the Flower Moon and Oppenheimer achieve this, but Oppenheimer deserves the attention it is getting here. Totally thrilling stuff from beginning to end.

Will Win: Oppenheimer

Should Win: Oppenheimer

WRITING (ADAPTED SCREENPLAY)

In my mind, this is a less obvious category. Oppenheimer is a dialogue heavy epic. Poor Things and Barbie have hilarious and meaningful moments (though what was performance, what was script?). Zone of Interest feels like a real wild card, but American Fiction has been dominating the precursors and... I get it. I really enjoyed American Fiction, it's wit and charm, even though its one of the weaker Best Picture nominees. But if it is going to win something, this feels like the one. 

Will Win: American Fiction

Should Win: American Fiction

WRITING (ORIGINAL SCREENPLAY)

A much stronger writing category (well, maybe not you, Maestro) - these are some of my favourites of the year. I adored Holdovers and Past Lives and I'd have no trouble picking either of them. I think Past Lives is the stronger entry and, shockingly, this may be the only place it could win something. But, sadly, I think it will be beaten by Anatomy of a Fall which boasts its clever screenplay as its greatest strength. It spans multiple languages, multiple timelines, it balances its revealing of information to keep the ambiguity of guilt at boiling point constantly. A worthy winner if Past Lives must be toppled. 

Will Win: Anatomy of a Fall

Should Win: Past Lives

DOCUMENTARY FEATURE FILM

How many times will we say this: this is a strong category. All are a look into something bleak whether corrupt authorities, dementia, war, or the influence or extremism. Four Daughters is the most creative, Bobi Wine is the one with the widest appeal, 20 Days is the most shocking and also uniquely captures the first days of war. That life-risking commitment to documentary feels worthy of the prize.

Will Win: 20 Days in Mariupol

Should Win: 20 Days in Mariupol

INTERNATIONAL FEATURE FILM

These are five great films and if there was somehow a five way tie, i would be happy. In any other year, I think Society of the Snow would take this but Zone of Interest is up for Best Picture, and rightly so. Smart money is then on it to follow every other international best picture nominee and win, but man its sad to think that Teacher's Lounge and Lo Capitano may fly under the radar for many if they go away winless, unlike Society and Perfect Days which have Netflix and Mubi backing them, respectively. 

Will Win: The Zone of Interest

Should Win: The Zone of Interest

ANIMATED FEATURE FILM

Strong category this year (not you Elemental). Exciting to see art styles that are not copying Pixar out-doing Pixar. Nimona was fine and the other three are great. Unfortunately, whilst it may get the gong, Spiderman lacked a 3rd act and that is a major flaw for me (especially as it was so good otherwise). Robot Dreams is totally charming and I love it but there is something uniquely special about The Boy and the Heron. Will it be too weird to take it? Not long to find out.

Will Win: Spider-Man: Across The Spider-Verse

Should Win: The Boy and The Heron

ACTOR IN A SUPPORTING ROLE

This is a strong category. Gosling and Ruffalo are laugh-out-loud hilarious and De Niro is severely sinister but Brown and RDJ are much more multifaceted, layered, and nuanced. RDJ nabs it - his performance is better, more central, weightier. 

Will Win: Robert Downey Jr

Should Win: Robert Downey Jr

ACTRESS IN A SUPPORTING ROLE

Okay, if there is a done deal on Oscars night, this feels like it. Nyad does not deserve awards contention, even if Foster is the best thing about it, and Ferrera is lucky to be here too. Blunt is a brilliant but a little used piece in a much bigger film. Brooks is the highlight in an already enjoyable musical. But, come on, Mary is the heart and soul of The Holdovers and Da'Vine Joy Randolph brings her to life beautifully. There should be no questions here.

Will Win: Da'Vine Joy Randolph

Should Win: Da'Vine Joy Randolph

ACTOR IN A LEADING ROLE

Domingo feels slightly like he is making up numbers here, Cooper was fine, and as good as Wright is, this is a two horse race. My heart belongs to Giamatti, who gives the best performance of his career in one of my favourite movies of the year, but my brain belongs to Murphy. He is the smart choice, brilliantly carrying a three-hour cinematic epic on his shoulders. The award should go to Cillian Murphy on that basis, but don't call it an upset if Giamatti snags it - call it a joy!

Will Win: Cillian Murphy

Should Win: Paul Giamatti

ACTRESS IN A LEADING ROLE

People are saying Emma Stone has this in the bag but... I'm not so sure. It's big and dramatic and over-the-top. It is definitely the 'most' acting and, with the amount of nudity, deeply personal and vulnerable too as an actor. But Lily Gladstone is the anchor of Killers of the Flower Moon. She is far more nuanced and I'm not sure anyone else would have been able to have had the same effect on the film that she did. Is Stone great? Maybe, but i can imagine someone else playing Bella, even, dare I say, better? Look, I thought Poor Things was fine, but not the masterpiece that others seem to think. Maybe I'm just being negatively reactionary, but it would be amazing to see Gladstone get this. Hang on, what if Stone and Gladstone split the votes and somehow Hüller comes out on top? You know what? Anatomy of a Fall was great. You go Sandra Hüller. Listen, I'll be fine as long as Annette Bening doesn't win because Nyad was naff.

Will Win: Lily Gladstone

Should Win: Lily Gladstone

DIRECTING

All of these would be such great winners (and none of them deserve pushing out to make way for Gerwig). Scorsese is brilliant but doing something that feels less fresh than his fellow nominees. This feels like it should come down to The Zone of Interest or Oppenheimer

Anatomy of a Fall is a great courtroom drama; it follows that formula pretty well. Poor Things is probably too out-there (and its biggest criticisms can almost all be levelled at the director - excessiveness summing up a lot of that). But Zone does something extraordinary with its mundanity and natural performances, whilst Oppenheimer achieves what should seemingly be impossible. I've narrowed this to two films, but be real. Doing the impossible is always more impressive.

Will Win: Christopher Nolan

Should Win: Christopher Nolan

BEST PICTURE

You've heard me say a lot about all these films already. You could probably guess my ranking based on what's been said. But here's some final thoughts. Past Lives and The Holdovers are my favourites. I will revisit them both soon, followed by Anatomy of a Fall and Oppenheimer. But there is something I can't shake about Oppenheimer. Everything about it on paper should be a snooze-fest but it is astonishing. It has done so much for the industry and is one of the most definitive film makers of the generation at his very best. 

Will Win: Oppenheimer

Should Win: Oppenheimer 

Tenet

Christopher Nolan is known for for headscratchers. He takes pride in using a blockbuster formula to dream a little bigger, darling. It is no surprise then that his latest is his headscratch-iest. Playing with elements that he has built his career on - time mechanics, huge set pieces, the spectacle of cinema - Nolan has again produced something unique, something truly original. But does originality equate to quality? This is Tenet.

Tenet is, for all intents and purpose, an espionage thriller. Its comparison to a Bond film has not been understated, and it is a fair likeness. But where Bond has fancy gizmos and gadgets, Tenet has fancy time mechanics which opens the door for all sorts of creativity and breathtaking visuals never before seen in cinema. It's no doubt that Tenet is a spectacle piece, an audio-visual experience made to appeal to its audience on a sensory level and then, secondly, to their intellect. There's been cries that it's complexity for the sake of complexity, a vehicle for Nolan to display his superior intellect, but that is a severe misread of the film. Are the ideas on display here complicated - yes. But more importantly they serve the story, or rather, the experience. Any sort of time discrepancy has to be complicated - there are paradoxes galore - and the film makes clear that understanding all the detail is a wasted effort. This is not because Nolan is clever and the audience isn't, but because to focus on the detail detracts from the big picture event; it takes you away from the experience

That being said, the criticism isn't unwarranted. The screenplay is too dense and the sound mixing too score-heavy (as good as the score is) so it feels like the audience are constantly missing something because they can't keep up with the quick dialogue or can't hear it in the first instance. If these concepts and conversations aren't important, then they need to go. Tenet either needs an extra half an hour to build on these themes, or it needs to chop them. It's clear that the edit has forced the issue, but perhaps this could've been solved earlier with a tighter handle on the screenplay. It's not a confusing plot, but it is unnecessarily overloaded. One sailing scene, for instance, seems almost entirely superfluous aside from the fact that one minor incident in it drives what follows. In an already tightly squeezed narrative this scene (and really this scene is the only major offender) feels like a waste of precious time. 

As already mentioned, Tenet is designed to be an experience yet still begs its audience to stay switched on and focused throughout, rewarding those who do but harshly casting aside those who don't. It can be frustrating, being unclear on what exactly is happening, but Nolan wants the audience to work and persevere. If he is guilty of something, it's for challenging the notion that blockbusters are easy-watches; films where you can disengage and just sit back, passively absorbing content that is designed appeal to all. No one claims Tarkovsky made bad films because you have to work to understand them, yet this is a criticism leveled at Tenet. Do not mistake me here, Tarkovsky and Nolan are very different filmmakers, but it should be clear that complexity or working your audience is not inherently a negative trait. It may be divisive, but not entirely detrimental. 

The complicated ideas on display here are primarily a vehicle for the breathtaking visuals and action set-pieces. Nolan and his team know how to shoot action. The hand-to-hand combat is visceral and hard-hitting, with the punches being felt through the screen - a kitchen brawl makes creative use of a cheese grater which would even make Gordon Ramsey wince - and the large scale set-pieces are astonishing. Making full use of the time mechanics on display (see temporal pincer movements and cars flipping backwards), Nolan stretches the possibility of cinematic action, typically using practical effects wherever possible to ground the chaos in reality. We may be tempted to ask 'how?', Nolan encourages instead to utter 'wow!'.

This isn't Nolan's best movie, mainly for the reasons already discussed, but it is a demonstration of what could be possible in cinema. Bolstered by great performances from a suave John David Washington, an energetic and enigmatic Robert Pattinson, and a brilliant Elizabeth Debicki (whose Kat, however, is under-developed and under-utilised here. She's not alone, but most notable. Another fault of a brutal edit and a tight screenplay). It's charming, it's witty, and it's visually stunning. Challenging the norm set out by countless Marvel productions and other copycat blockbusters, Tenet is a breathtaking piece of cinema that will push people and prove divisive. But who would want to be safe when you can be sensational. 

Oscars 2020: Predictions

Last year, I called the Oscar ballot 'so-so'. Mediocre movies triumphed on the biggest stage in the film world with Green Book taking home Best Picture and Rami Malek being awarded Best Actor for Bohemian Rhapsody. It was an odd year and there was an air of apathy over the whole Academy Awards. This year, however, it's a breath of fresh air to have a close run in the Best Picture department between two (or three) excellent films and other brilliant films falling close behind. But you can read all of my thoughts on the big award here or everything else here. You're here to hear who I think should win and will win. Well then, let's go: 

Shorts:

Best Animated Short

This category is stacked this year. Hair Love and Kitbull seem to have the traction, and they're both nice, but the animation style is nothing special. Daughter, Sister, and Memorable are all creatively superior but with that comes a lack of accessibility. Memorable is the best here by a long shot, but It won't win. Give this to the slightly more meaningful Hair Love over the nice but basic Kitbull.

Will Win: Hair Love

Should Win: Memorable

Best Live Action Short

Another strong year in this category. There's lighter films and darker films. Nefta Football Club is a bit nothing but fun. Saria and Brotherhood are powerful dramas but hard to watch. A Sister is a compelling little short, well acted and well shot, but The Neighbour's Window manages to hold all of these aspects in tension, telling the most complete story in a rear-window-esque style with a nice twist ending.

Will Win: The Neighbour's Window
Should Win: The Neighbour's Window

Best Documentary Short

Documentary short is a wonderfully diverse category. We have looks back on the past in the haunting In The Absence, the power of dance in Walk Run Cha-Cha, the exploration of the bizarre resignation syndrome in Life Overtakes Me, the battle being fought by Bruce Franks jr. to pass a critical bill, and the fascinating insight into warzone education in Learning to Skateboard in a Warzone. It's almost impossible, therefore, to rank them easily because they're so different. But Learning to Skateboard and In The Absence are more insightful than the others, bringing something important to the forefront of media. My preference falls to In The Absence but Learning to Skateboard explores something completely new, exciting, and positive. It ticks all the boxes. 

Will Win: Learning to Skateboard in a Warzone
Should Win: Learning to Skateboard in a Warzone

Technical Categories:

Best Cinematography

There's not that needs saying here. This is 1917's award to lose. It's visually stunning and the cinematography is all of that. 

Will Win: 1917

Should Win: 1917

Best Costume Design

In previous years, period films do well here and Little Women fits that bill and more. It's beautiful in all aspects including it's costumes. It's not just that they're period, it's that every single one, from the ball gowns to the warm winter coats, are stunning. The other nostalgia grabs (OUATIH, The Irishman) might make a punt here but otherwise this is set. 

Will Win: Little Women

Should Win: Little Women

Best Make-up and Hairstyling

This may be a trend this year, but this is another one that seems set. For anything to topple Bombshell would, ironically, be a bit of a bombshell. 

Will Win: Bombshell

Should Win: Bombshell

Best Production Design

Finally a close race. Once upon a time in Hollywood and 1917 are neck and neck here. One for nostalgia, one for war. Both winners here. I didn't see Hollywood in the '60s but the reality of the representation in OUATIH seems to be giving it sway. So for that reason, I'm going for 1917. I can't imagine the nostalgia is going to appeal to everyone, but 1917 should grip us all. 

Will Win: 1917

Should Win: 1917

Best Visual Effects

Last year, I argued strongly for Avengers which was beautiful whilst not seeing much in eventual winner First Man. This year, I've changed my mind; I see the brilliance of 1917. Or more accurately, I don't see it. 1917 is filled with thousands of VFX shots and yet, they're imperceptible and effective. I stand by Endgame for the same reasons as last year, but can't give it. It may pip the post as a honorary award (to award the last 10 years of the MCU), but I doubt it. The Lion King is stunning but sucks, same for Star Wars. The Irishman's weakest point was it's VFX, no matter how revolutionary. 

Will Win: 1917

Should Win: 1917

Best Film Editing

Like many others, I loved Ford v Ferrari especially for its race sequences. That is all editing, baby. It's not going to get love anywhere else so people might, when looking at their ballots which lack any FvF, drop it some love. That being said, Parasite is tightly edited and relies so heavily on it's pacing that it should be acknowledged as the best edited film of the year. The experts are split, I couldn't call it. But for reasons above, I say:

Will Win: Ford v Ferrari

Should Win: Parasite

Best Sound Editing

War. Guns. Action. This is 1917's to win. No doubt. 

Will Win: 1917

Should Win: 1917

Best Sound Mixing

War. Guns. Action. This is 1917's to win. No doubt. 

Will Win: 1917

Should Win: 1917

Music:

Best Original Song

For me, this is the weakest category in the whole of the awards. Not just for weaker films, but also for a lack of memorable songs. There's no Happy, no Let It Go, no Remember Me and so on. But the best is Rocketman's original Elton John number. 

Will Win: I'm Gonna Love Me Again (Rocketman)
Should Win: I'm Gonna Love Me Again (Rocketman)

Best Original Score

This should be 1917's. Newman's score was a strong component of the film and was faultless. Joker's score is also excellent and with 1917 set to be the big winner tonight, I'd imagine Joker to walk away with awards for it's two strongest elements - the performance and the score.

Will Win: Joker

Should Win: 1917

Writing:

Best Adapted Screenplay

People loved Jojo Rabbit and it won't win anything else. It's screenplay and this would be a deserving award to give it, however Little Women took something old, something well known, and made it new and fresh. That's almost all in the screenplay. I'm stuck between the two. I loved both; Little Women was the better film but Jojo has more effective moments delivered by an intelligent screenplay. Some people may vote against the Nazi-for-comedy stuff though...

Will Win: Jojo Rabbit

Should Win: Jojo Rabbit

Best Original Screenplay

This has to be Parasite. None of the others come close, as much as I'd love to see Knives Out or Marriage Story get some love. Booksmart should be here also and 1917 can be dropped. 

Will Win: Parasite

Should Win: Parasite

Fringe Films:

Best Animated Feature

Another weaker category. I Lost My Body is great, as is Toy Story 4 but the latter may fall short due to over-Pixarisation (look it up). Klaus and Missing Link both do something different stylistically but are unimpressive narratively. It's getting late and your call is as good as mine here. 

Will Win: Toy Story 4

Should win: I Lost My Body

Best Documentary Feature

From a weak category to one of the strongest. All of the documentaries are contenders here. American Factory is amazing and getting a lot of love, as is The Cave. Personally, my vote goes to For Sama, which I thought was the most eye-opening of the nominees, though not an easy watch which might take away it's winning value. This time, I'm going with my gut.

Will Win: For Sama

Should Win: For Sama

Best Foreign Language Film

If Parasite doesn't win, I will admit I don't understand anything. 

Will Win: Parasite

Should Win: Parasite

The Big Five:

Best Supporting Actor

No one else has even got a look in this season, and rightly so. But only because Willem Dafoe has been robbed across the board. 

Will Win: Brad Pitt (OUATIH)

Should win:Willem Dafoe (The Lighthouse) Brad Pitt (OUATIH)

Best Supporting Actress

As above, no one will uproot Laura Dern's momentum, but I'm on the side of Scarlett Johansson in Jojo Rabbit. I'm also on the side of booting Kathy Bates for Jennifer Lopez in Hustlers. A much tighter category than its male counterpart but still, here's to Laura. 

Will Win: Laura Dern (Marriage Story)

Should Win: Scarlett Johansson (Jojo Rabbit)

Best Actress

It's hard not to see the brilliance of Renee Zellweger's performance as Judy Garland. I also love Scarlett Johansson in Marriage Story and would not object to her having a double win but it won't happen 

Will Win: Renee Zellweger (Judy)

Should Win: Renee Zellweger (Judy)

Best Actor

Again, nothing changing here. Expect Joaquin Phoenix to win with no competition and deliver another speech about some important topic. I am in love with Adam Driver in Marriage Story and think it was the best performance of the year. It was nuanced, it was correctly explosive, it was painful and powerful. In other words, it was Joaquin Phoenix's Joker performance but subdued and superior.

Will Win: Joaquin Phoenix (Joker)
Should Win: Adam Driver (Marriage Story)

Best Director

On any other year, this would be Bong Joon Ho's award hands down. He made an astonishingly good film like nothing else here. But Sam Mendes made 1917 which is more than a film. It's an experience. A technical marvel. A miracle. That is all down to Sam Mendes and his work. Either would be worthy recipients but:

Will Win: Sam Mendes (1917)

Should Win: Sam Mendes (1917)

Best Picture

The big one, and for the first time in years, it is genuinely exciting. Any of these films could win. It's been amazing to follow. From a five horse race (OUATIH, The Irishman, Parasite, Joker, 1917) to a three horse race (OUATIH, Parasite, 1917) to really a two horse race (Parasite, 1917). OUATIH still has an outside chance, especially under the preferential system, but 1917 and Parasite would both be worthy winners for different reasons. Parasite is the best film. 1917 is the best production. 

Will Win: 1917

Should Win: Parasite

Oscars 2020: All Nominated Features - Ranked

A simple post really. I've become disenchanted with a five star ranking system. There's no room for nuance. How can I tell you that Knives Out is way ahead if Joker but still a step behind Marriage Story with five stars? I can't! So here: a full ranking of all 38 nominated features. If you want my feelings on shorts, see my predictions post.

38. Breakthrough
39. Maleficent: Mistress of Evil
40. Harriet
41. Richard Jewell
42. The Lion King
43. How to Train Your Dragon: The Hidden World
44. Star Wars: The Rise of Skywalker
45. Frozen II
46. Judy
47. Missing Link
48. The Edge of Democracy
49. Rocketman
50. A Beautiful Day in the Neighborhood
51. Ad Astra
52. Klaus
53. The Cave
54. Honeyland
55. Toy Story 4
56. Avengers: Endgame
57. American Factory
58. I Lost My Body
59. Bombshell
60. Joker
61. Les Misérables
62. For Sama
63. The Two Popes
64. Pain and Glory
65. Corpus Christi
66. Ford v Ferrari
67. The Irishman
68. Once Upon a Time in Hollywood
69. Knives Out
70. Jojo Rabbit
71. The Lighthouse
72. Little Women
73. Marriage Story
74. 1917
75. Parasite

What can I say? This film had me gripped from the get go. I loved it. I adored it. There's been nothing better all year. Could it pull it off and win? Only time will tell but it would be amazing if it did. It's rare enough for the best film to actually win, but an international feature? It would be a dream come true.

Oscars 2020: Best Picture

1917





1917 is a marvel. The construction and production are a clear labour of love and dedication to the craft of film-making. Simply put, 1917 is a unique cinematic experience. It’s immersive, compelling, never yielding or giving room to breathe. Jumping from astonishing set piece to set piece, Sam Mendes has achieved something truly special with 1917 and it’s unlikely we’ll see anything even remotely similar anytime soon. If you can, see it on a big screen; it's unmissable.

Ford v Ferrari (a.k.a. Le Mans 66)





Ford v Ferrari may not contain any groundbreaking story telling and it may be predictable (or so you might seem), littered with caricatures and cliches but whatever it does, by golly does it do it well. It’s roaring fun anchored around two solid central performances in Matt Damon and Christian Bale. It races along (sorry) with unapologetic pace and delivers everything you might want in a film. It's funny, emotive, suspenseful, easy-to-watch and a treat for the eyes at the same time. The race sequences alone are worth the ticket price. If nothing else, Ford v Ferrari is an excellently edited, effective piece of cinema. Besides, sometimes it's nice to know who the good guys and bad guys are in a best picture race that is smacked in shades of grey.

The Irishman

The master of mobster movies is back at 77 years of age with another epic piece of film-making. The Irishman is an unrepentant reminder that death comes for all and tears apart the toxic masculinity that fuels the underworld of crime and the upper world of politics. It also reminds us how closely tied those worlds are. With incredible performances from some of the greats - De Niro, Pesci, Capone - and some character defining de-aging, The Irishman is truly a tour de force of cinema (streaming?). It is overlong, sometimes confusing - requiring some knowledge of American politics and history -  and the revolutionary de-aging is occasionally distracting but don't be fooled - this film packs a mighty punch.

Jojo Rabbit





Once you settle with the slightly off accents, Jojo Rabbit really takes off. Some have complained it's not meaningful enough, or isn't critical enough of the Nazi regime. But this is not that film and that's okay; in fact, Jojo Rabbit expects the audience to have an understanding of the atrocities committed by both sides as they create the implicit threats for all weighing down on the characters. But we are seeing Jojo's perspective. Jojo is ignorant of the Nazi's evil (an ignorance that leads to one of the films most effective moments) and so it's not central to the film. We, the audience, are aware so it need not spell it out. In the meantime, it tells a touching story of human connection overcoming the worst evils imaginable. Yes it's funny, but the comedy is (mostly) used to then highlight the danger, fear, and evil that exists. And it delivers both the comedy and the tragedy in buckets. It's great.

Joker





To take a comic book icon and redefine him in an age of the dominant Marvel Cinematic Universe is a risky business. To be successful is an achievement in itself. To be as good as Joker is almost unbelievable. Now, understand, Joker is not a masterpiece. It's not particularly special. But it is a good film. It tries to hinge too much of its narrative on underdeveloped social issues (absent fathers, depression, underfunded social care) but leaves them hanging in a misleading way. But is beautifully shot, the score is glorious, and the performance from Joaquin Phoenix is spell-binding. It's no King of Comedy or Taxi Driver, two close comparisons, but it holds its own.

Little Women





Director Greta Gerwig can do no wrong. Lady Bird, her debut in 2017, was one of the best films of the last ten years, and now she is adapting a book that’s already had seven film adaptations, several TV adaptations, and even an anime adaptation. It's fair to say there are no better hands to deal with such a task. With a great ensemble cast, Gerwig breathes fresh, exciting life into a classic piece of fiction. Using multiple timelines running alongside one another, the narrative ploughs along, never dragging and never dropping. It’s not only a beautiful piece of cinema, but a triumphant one in every single regard. It's pretty close to flawless, and that's saying something.

Marriage Story





Unlike many films on this list, Marriage Story seems unimpressive on the surface but its simplicity allows it to shine. Chocked full of great, career best performances from Driver, Johansson and cast, Marriage Story is effectively emotive and heartbreaking, bringing the pain of even the nicest divorces to the surface, letting it boil over into anguish, hatred, and resentment. But where Noah Baumbach really makes his mark is in the lines that are crossed. The words said that can never be taken back, the actions that can never be undone, the regret that can never be overcome. It’s in these moments, in how they’re handled, that Marriage Story demonstrates its emotional weight. It’s perfectly crafted, beautifully acted, and flawless in every way. It’s understated and straight forward and shows that you can do simple things really well and boy howdy does this do it well.

Once upon a time... in Hollywood





Quentin Tarantino's latest film is classic Tarantino, though not in the way we might expect. It is born out of pop-culture, dripping in nostalgia, and slowly taking us through a fairy tale version of Hollywood. Despite clocking in at nearly 2 hours 40, it doesn't feel like a chore to get through, which is a great testament to what's on show here. There's no major set-pieces (like, say, Inglorious Basterds), until the end. It just kind of floats through events, but the drifting is all purposeful and leads to a heart-stopping, adrenaline pumped climax. It is great filmmaking with great performances. It's not Tarantino at his best, but it is him at his most relaxed.

Parasite





Parasite is a unique piece of cinema, refusing to be confined to any single genre and carving its own, previously untrodden path onto the filmic landscape. It dances from Hitchcockian thriller, to black comedy, to heist movie with no effort under the careful guidance of Bong Joon Ho. He delicately weaves his tapestry with precision, not wasting a shot or a cut or a word, holding in tension a damning condemnation of capitalism whilst trying (and succeeding) to be entertaining. It's a masterpiece, plain and simple; it's in a league of its own and is something special.

Oscars 2020: In Summary

So there were 53 total nominees at the Oscars this year, 38 features and 15 shorts. I've seen all 53 in case you're unable to. So here's a quick summary of all the feature nominees, excluding the Best Picture nominees which have their own space here (coming soon). But, before tonight, here we go in alphabetical order:

Ad Astra

Ad Astra 

It may look like the next 2001: A Space Odyssey but it's not. It tries explore the depths of not just space, but also human nature. Sometimes, it pulls it off and Pitt's performance is excellent, but it struggles tonally and with pace. That being said, it is beautifully shot with some striking lighting, possibly unrivalled this year. Combined, though, with some clunky exposition, and you have something that is aware of its potential, ambitious to reach its potential, but unable to do so.

American Factory 

As documentaries go, American Factory is eye-opening. It explores the culture clash of an American-Chinese factory, the discrimination involved in unwanted unionisation, the painful success of the heartless regime and is always engaging, and exciting even. 

Avengers: Endgame 

Endgame is an odd film. It's first act is disjointed, sloppy, and slow, but the second half is an unrivalled triumph with only minor speedbumps. It's unlikely that any other film will replicate the success of Endgame, especially considering the magnitude of what it had to do. It needs a sharper edit, cutting out all selfie jokes and fortnight references whilst also making it's social comments more authentic rather than clunkily shoe-horning them in. But don't let that take away from how breathtaking the climax of ten years' worth of cinema is. 

A Beautiful Day in the Neighborhood

Tom Hanks would seem to be an ideal choice to play Mr Rodgers, and you're not wrong - he's as close as we'll get. But no-one can be Mr Rodgers, really. There is something special about him (see Would you be my Neighbour, a 2018 documentary on him) and that is what comes through here more than anything. Hanks is really telling the true story of a brilliant man rather than acting as him. He challenged the status quo, was counter cultural, and here we see his ability to truly reach people. It's touching, if a little basic.

Bombshell 

Great performances and a horrid truth. Timely, widely acknowledged, and yet still deeply shocking; the reality of what happened behind those closed doors is not dealt with lightly. Director Jay Roach knows how to make his audience uncomfortable and does so to unsettling effect, to put us in the shoes of the victims - or as near as we can get from the comfort of distance - but it makes the point. This is serious, this is painful, this is real, this is wrong. 

Corpus Christi

Breakthrough 

There is nothing enjoyable about the first 20 minutes of Breakthrough. In fact, and I know this sounds bad, it only gets going when a kid almost tragically dies. The characters, at the start, are all unlikeable. And sure, Christians recognise that all people are flawed and broken - it's not shying away from that - but cinematically we need to connect. We should care when John falls through the ice... but we don't. Still, it recovers and moves on. The characters improve and the film starts to raise some good questions, bad sadly never attempts to tackle them.

The Cave 

Syrian war documentaries are no stranger to the Oscars. There's two this year, both focusing on the work of hospitals at the centre of the conflict. The Cave is an uneasy watch, but it doesn't portray a world devoid of hope. We see the small joys, the celebrations, the laughs and jokes that happen in a literal hole in the earth. It's hard not to be moved. 

Corpus Christi 

Corpus Christi is the joy of the Oscar season. A small Polish film that we might never have heard of if not for its nomination. But it's excellent and deserving of its place alongside the big-dogs like Parasite. It's engaging from the off and it never relieves the tension. It explores the hypocrisy of the good faithful villagers from the perspective of a bad faithful criminal and it does it masterfully. 

The Edge of Democracy

If, like this humble author, you have no idea of the political situation in Brazil, this is the documentary to watch, regardless of whether you find the topic dull. The outworkings of greed and corruption permeate the political landscape, with everyone listed as either the saviour or the devil. In the world we live in today, it's a reminder of why binary politics can be so damaging, but also that democracy is fragile and cannot be given without thought to the powerful and the greedy.

For Sama 

With a specific focus on children in the war, presented as a letter to the director's daughter Sama, For Sama is a breathtaking documentary that will have you on the edge of your seat. It's worth saying, there is little to enjoy when watching For Sama. But you're not here to have fun War is dark. It is horrific. Any joy is fought tooth and nail for, whilst grief is given freely. If you can bear it, it's a truly eye-opening film. If you're like me, you'll hug your loved ones slightly tighter after watching it.

Knives Out

Frozen II 

Overall an improvement on its predecessor, but its music is lacking, which was easily the strongest part of the previous installment. Visually, it's in a new league from the bleary blues of Frozen but it is still falls into too many sequel traps, never quite feeling fresh or new. 

Harriet 

Rushed, sloppy, and, for the most part, ineffective at creating any sort of feeling for the central characters. It rattles along whilst never building any tension or really giving any sort of commentary. It feels pointless; it never really solidifies Harriet as a great woman as she never really get shown to do very much, which in turn defeats the point of the film. 

Honeyland 

The most cinematic of documentaries this year. A commentary on natural resources, the exploitation of them, and of relationships. It's heart-warming and heart-breaking; moving and meaningful. It doesn't do a lot, but what it does it does very well. Who would've thought a film about bee-keeping could be quite so powerful?

How to Train Your Dragon: The Hidden World 

Suffering from third-film stagnation, How to Train your Dragon 3 just doesn't really work. There's a lot going on but nothing convincingly. It's slightly contrived and somehow, the background characters from the earlier films have found their way to more central roles and have brought their grating personalities and strange traits with them. Visually, it is stunning, but narratively, it's flat which is a real shame.

I Lost My Body

Superb animation, a beautiful and heartfelt story, and a dismembered hand trying to find its way home. It's genuinely exciting when the hand has to take on huge opponents like rats or pigeons and never pretends to be family friendly due to its medium. This has scary moments, loving moments, painful moments, and many more. Its narrative is well paced leading to a hugely satisfying end, even if not a totally happy one.

Judy 

Judy is one astonishing performance and little else. It's a watchable, even enjoyable film, but there's no real creative flair, which is a missed opportunity, especially with the concert scenes where it felt all too copy-and-paste, all too samey, with one exception at the end. However, instead of ending there, on a high, they retreat back to cheap sentimentality without the real cause to do so. It's fine, but go elsewhere for something good.

The Lighthouse

Klaus 

Klaus is beautifully animated and the voice acting is a treat. It's a Christmas film through and through, reinventing the Santa Claus' mythos in a gentle, endearing way. There's no great magic, no great technology, just a man who loves toys and children, as well as the greedy-come-kind postman who helps him realise his true calling. J.K. Simmons proves what he can do with just his voice in an enjoyable little tale. Is it predictable, mostly, but in such a fun way. 

Knives Out 

Possibly the most fun you can have with a murder mystery. There's a sense that everyone on camera here is having the best time of their lives, especially Daniel Craig. His southern detective is the crowning jewel of an already excellent film. It takes all of what you know about whodunnits and freshens it up whilst keeping everything you love. Simply a joy.

Les Misérables 

Not the musical stage spectacular or the Tom Hooper adaptation of 2012, this is a more brutal, modern, real look at the neighbourhood that once inspired Victor Hugo. There's crime abundant and the police force are no strangers to it, and even are a bit too warm to it. The tensions reach breaking point and there's a manic attempt to claw back dignity and respect leading to a heart-racing finale. With some great performances and an intelligent screenplay, Les Misérables is a French triumph. 

The Lighthouse 

A simply stunning piece of art. Robert Pattinson has never been better; Willem Dafoe has never been better; modern black and white has never been better; 1.19:1 aspect ratio has never been better. This descent into madness is a marvel; we share in the characters insanity. Are they insane, are we? What's happening? We always know and don't know. There's something incredibly striking and unique about that paradoxical position, making us Schrodinger's audience, always on the precipice of understanding, yet never further way. Hark Triton, hark!

The Lion King 

There's something soulless about The Lion King. The realism of the animation takes away the opportunity for creativity. As captivating and beautiful as it is, The Lion King is nothing original (obviously, as a near shot-for-shot remake), and nothing entertaining. The colour pallette, facial expressions, and therefore the joy are all restricted by the commitment to being a 'live action' remake. It's sad, and will leave you begging for something wholly new and unique. 

Pain and Glory

Maleficent: Mistress of Evil 

An unnecessary sequel to a somewhat unnecessary film. Angelina Jolie turns up, but it can't be said that anybody else does. There's no tenison, no real stakes. The baddies are 'hidden' but it's clear to the audience from the get-go who's the evil one, making it seem painful that the characters can't see it to. As with a lot of the lower rated films this year, it works hard visually, understanding its medium. Those iron air mines against the blue sky are marvellous. 

Missing Link 

A lot of fun, if not a bit twee. The stop motion animation is a treat and deserves many accolades, but it's not as good as it was in Kubo and the Two Strings which was excellent. Somehow, at only 93 minutes, it still feels quite long, but still silly family fun.

Pain and Glory 

This is a pretty film. The colours explode from the scene making it a joy to watch regardless of anything else. There's beauty in the narrative too; a suffering artist struggling to find his creative juices whilst having to dredge up and work through old conflicts. Plus heroin. Good fun, warm, and Antonio Banderas has never been better. 

Richard Jewell 

This is a film about a 'true American hero', as director Clint Eastwood puts it, but it's a pity they made the hero so unlikeable. We're introduced to him abusing his power over students, being over keen about the police force, and quite openly having the runs. It's trying to set up the conflict for later, but all it really does is disengage the audience to the point where instead of screaming at the FBI to look elsewhere, you're hoping they do find some dirt on Richard.

The Two Popes

Rocketman 

Rocketman, in one sense has been cheated. It's a league ahead of last year's Bohemian Rhapsody and yet has next to none of the recognition. It is superior in all respects, not least in its lead performance, and it's just unfair. That being said, for the most part, it's a formulaic musical biopic with some good adjustments. It's full of unrealised promise, but a lot of fun nonetheless.

Star Wars: The Rise of Skywalker 

If you can ignore the fact that it doesn't really make any sense - which may be a tall ask - and that it's at least 30 minutes too long - which is a tall ask if you forget to go to the toilet - then you can start to enjoy the final instalment of the Skywalker saga. There's a lot of problems - a lot - but it's still got stunning visual effects, great performances, and some spellbinding action, even if it feels like going round the houses to get there. 

Toy Story 4 

Whilst a fourth instalment of the much loved animated series seemed entirely unnecessary - and in many senses it was - it refused to be irrelevant. It wasn't a simple cash-grab, continuing to deal with real issues whilst introducing new characters and solidifying the old. Is it the weakest in the series? Yes. Is it still a great film? Yes.

The Two Popes

Genuinely funny and moving as it considers questions bigger than ourselves. Anchored by two brilliantly touching performances - Hopkins and Pryce. Together, they bring humility and humanity to the Vatican leaders in a film that boasts strong storytelling and a tight script, never losing its warmth amongst its existential explorations and search for God's true will.