We've come to the main category. In the past, the best picture winners haven't often matched my preferences, but I'm quite confident that the film I love the most this year will align with the Academy's choice. I enjoy making lists, so I've decided to discuss this year's best picture nominees in the reverse order of my preference. However, let's stay positive. Every movie on this year's list has value.
“Maestro” [Film Title] is an intriguing movie conceptually, filling in the gaps in Leonard Bernstein's life and music. Its approach to shaking up the tired biopic genre is something I'd like to see tried again. It includes strong lead performances and is readily available on Netflix for anyone interested in watching it.
“American Fiction” is about a stubborn, pretentious writer who makes insightful observations about the current state of things. This character is quite relatable. I appreciate that it provided Jeffrey Wright with the substantial, leading role he's always deserved. The film's politics are somewhat ambiguous, giving me a lot to ponder.
“Past Lives” will always remind me of the Grove AMC in Los Angeles, where I was surrounded by people who could appreciate a quiet piece of cinema and engage with it. Having that experience at home is rare, if not nonexistent. It introduced me to some interesting performers — Greta Lee and John Magaro — whom I'd like to see more of.
“Anatomy of a Fall” is a courtroom drama released at a time when that genre seemed to be fading. The film's intrigue lingers after the final credits, and the story unfolds in a satisfying manner, keeping me guessing. Sandra Huller's leading performance is one of the best of the year, turning a cold character into someone a bit more unpredictable than she initially appears. In a good way.
“Killers of the Flower Moon” demonstrates Martin Scorsese's continued connection to themes that have established him as one of the greats. While the film does grapple with perspective, it is very characteristic of Scorsese to have us see through the eyes of the morally corrupt. “Killers” presents its story as a means to inform and educate about a perilous era that occurred in the last century.
“Barbie” is bursting with vibrant colors and life while also lending credibility to a concept that many dismissed. As it turns out, there is much to explore regarding femininity in the film about Barbie. It serves as a gateway to feminism. I hope people realize that “Barbie” can be the starting point for deeper conversations about complex topics.
“The Zone of Interest” is a somber masterpiece, holding nothing back and showing little concern for satisfying a general audience. This is likely to appear on some end-of-decade lists in 2029. Create a barrier and block out the harm you're imagining and encouraging. This sounds familiar. Confronting the banality of evil is challenging, as all of us are guilty.
“Poor Things” is the feminist film that “Barbie” might aspire to be. It's a thrilling experience, showcasing top-notch makeup, production design, costumes, sound, and music. Oh, and it features one of the greatest performances of all time, Mark Ruffalo playing against type, and a host of other notable actors who form an outstanding ensemble.
"The Holdovers" is now considered a Christmas classic, and it is compared to other classic Christmas films like "It's a Wonderful Life," "Miracle on 34th Street," and "The Bishop's Wife," which are all nominees for the best picture at Christmas. In my opinion, it is the second best film on the list and it perfectly captures the ups and downs of the holiday season. Just thinking about the central character arcs makes me feel warm and happy.
"Oppenheimer" meets all my criteria for a great film. It is visually impressive, has a compelling narrative, features outstanding performances, and the director's vision is evident in every frame. In Sam's Oscar Outlook 2023 (Not 2024), it is stated that "Oppenheimer" has one of the greatest endings to a film ever and should win the best picture at the 96th Academy Awards.