With Hollywood’s biggest night right around the corner, the elite are prepped to celebrate themselves and argue over who deserves a little golden dude named Oscar the most.
Whether you’re a die-hard cinephile or just seeking an excuse to avoid doing laundry for another hour, The Journal has you covered. Sit back, relax, grab some popcorn, and let us guide you through this year’s Best Picture nominees.
American Fiction (3.5/5)
Cord Jefferson’s dramedy focuses on a Black author suffering from writer’s block, leading him to write a satirical novel exposing outdated stereotypes. American Fiction critically examines how white America consumes BIPOC art while seamlessly incorporating charming humour. Although it likely won’t win, it deserves recognition for tackling representation and racial politics in a serious yet witty manner.
Anatomy of a Fall (5/5)
A French legal thriller with a 50 Cent instrumental in the soundtrack makes any movie hard not to love. The film features an outstanding performance by Sandra Hüller as a wife accused of killing her husband, with the sole witness being their blind son. Justine Triet’s unpredictable courtroom drama shines a light on a crumbling marriage and raises questions about the legal system. Anatomy of a Fall will capture your attention for the entirety of the film, it goes beyond uncovering who murdered the father by interrogating the viewer on how they arrived at their conclusion.
Barbie (4/5)
The year’s highest-grossing film was a massive pop culture phenomenon. Greta Gerwig’s smash hit encapsulates how impossibly difficult it is to be a woman through social commentary on the patriarchy. A stellar acting performance from Margot Robbie propels a story of self-discovery, emphasizing the trials and tribulations of womanhood. Coupled with Ryan Gosling’s musical number “I’m Just Ken,” this film left us pondering whether we’re doing “Kenough” to support the women in our lives.
The Holdovers (4/5)
This is a wholesome film that will inevitably become a Christmas classic you’ll want to watch on a snowy day with a cup of hot chocolate. It tells the story of three emotionally unavailable characters who are forced to spend Christmas together and find solace in shared trauma. Alexander Payne’s film showcases the idea that despite our differences, everyone wants and needs love, whether its romantic, platonic, or familial.
Killers of the Flower Moon (3.5/5)
Martin Scorsese’s most recent blockbuster follows the true story of the Osage people who are murdered one by one after oil is discovered under their nation’s land in 1920s Oklahoma. Though the film features big names like Leonardo DiCaprio and Robert De Niro, Lily Gladstone stole the spotlight, thrusting her name into Best Actress award conversations. Despite being 81, Scorsese shows no signs of slowing down, reminding us why he’s still one of the greatest living directors. He draws attention to a truly tragic story through beautiful set design, costume design, and landscape shots.
Maestro (2.5/5)
Maestro is a biopic of composer and conductor Leonard Bernstein. Despite serving as a love letter to art and music, this film falls short of its ambitions and feels more like Oscar bait. Bradley Cooper delivers a mediocre performance as both the director and the lead actor, leaving the audience dissatisfied. While ambitious in its attempt to explore themes of artistry, relationships, parenting, and sexuality, Maestro ultimately fails to deliver on any of these fronts.
Oppenheimer (4/5)
The latter half of “Barbenheimer” is regarded as one of the favourites to win Best Picture. Christopher Nolan’s masterpiece covers the story of Robert Oppenheimer and the development of the atomic bomb during World War II. The dynamic between scientific and political power explores whether our leaders incur a crisis of consciousness due to their decisions. The court drama throughout the film examines the alignment of Oppenheimer’s character as a scientist, politician, or warmonger, and articulates the philosophical implications of using an atomic bomb. One downside of the film is the depiction of the women in Oppenheimer’s life, who all exist to further his narrative arc rather than their own.
Past Lives (5/5)
The directorial debut of Queen’s alumna Celine Song is one of the best movies of the year. Past Lives is a film about two childhood sweethearts who reconnect in New York City after being apart for years, and explores ideas of love and destiny. It demonstrates how we’re products of the people and places we surround ourselves with, highlighting the importance of the paths we take in life. The evocative questions provoked by the film are facilitated by effortless conversation between the two long lost lovers. While it may not have the same level of recognition as some of the bigger-name films, Past Lives is worth checking out.
Poor Things (4.5/5)
Yorgos Lanthimos’ Poor Things takes a unique approach to the journey of self-discovery, with Emma Stone playing a young woman under the care of a deranged scientist. Her character runs away, undergoing a loss of innocence and uncovering themes of sexual liberation, social inequality, and autonomy. Notably, the costume design, set design, and cinematography contribute to the expansive world-building in this fictional universe. As a result, it may lean more towards recognition in production design and cinematography awards, as the Academy will likely deem it too weird to win Best Picture.
Zone of Interest (3.5/5)
Zone of Interest takes place during World War II and focuses on the family of the Nazi commander of Auschwitz and his wife as they build their dream life in a house right next to the camp. Jonathan Glazer’s film depicts an atrocity without having to display explicit violence, and instead capitalizes on the ignorance of those unaffected by the discrimination happening right beside them. In spite of its slower pace, the subtly of the film speaks volumes.
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