The 2024 Academy Awards are just around the corner, and somehow—between law school classes, summer job searches, and general late winter agony—I watched all ten films nominated for Best Picture. In my humble opinion, 2023 was a phenomenal year for movies. Many of my favourite films of the year weren’t even nominated for best picture, and I consider everything that did make the shortlist at least good.
10. Barbie (dir. Greta Gerwig)
I know, I know. This movie was good! But I didn’t find it as amazing as many people did. On the one hand, it was very funny (mostly), with Ryan Gosling’s Ken stealing every scene he was in. The movie also had excellent production design and the costumes were incredible. On the other hand, the movie’s themes were all over the place. At points, it was a satire, and at others, the story was played completely straight, making those earnest moments confusing and unearned. To me, this movie felt like four separate drafts of the script smashed together. Oh, well. It was still a fun time. 3/5 Stars.
9. Maestro (dir. Bradley Cooper)
Considering how many bad things I heard about this, that I found it good was miraculous. The best aspects of the movie were all in the filmmaking, with the cinematography, makeup, and costumes all being stellar. The acting is also great, for the most part. The plot plays out predictably, but it has its moments. 3.5/5 Stars.
8. American Fiction (dir. Cord Jefferson)
This succeeds at being a good satire where I found Barbie missed the mark. It’s really funny and acerbic, carried by performances by Jeffrey Wright and Sterling K. Brown. However, the film also at times attempts to balance that really effective satire with an earnest family drama plot that is not nearly as interesting to watch. Even still, I laughed a lot, and when that happens I can overlook minor flaws. 3.5/5 Stars.
7. The Holdovers (dir. Alexander Payne)
A cosy movie that is more complex and emotional than I anticipated. I liked how the leisurely pace of the (barely there) plot allowed the viewer to sink into that world and become attached to the characters. The acting was pretty excellent around the board, but I was particularly moved by Da’Vine Joy Randolph’s performance. I hope she wins the Oscar. I also cried at the end. I expect this will become a December staple for me going forward. 4/5 Stars.
6. Poor Things (dir. Yorgos Lanthimos)
Although this movie was often meandering and structureless, I understand that was the point and it worked in the movie’s favour. It allowed the viewer, alongside the central character, to explore the esoteric, maximalist world and the strange individuals inhabiting it. While the feminist themes were somewhat muddled (this was obviously directed by a man), I enjoyed the overall reflection on what it means to be human: what makes us curious? What drives us? What makes us feel good? 4/5 Stars.
5. Past Lives (dir. Celine Song)
It’s impossible to know everything about someone in real life, let alone the characters in a story. This meta concept is something the movie takes and runs with beautifully. Introspective and subtle, this film encapsulates the idea of finding beauty, life, and art in every moment. It helps that the two leads are great, and have wonderful chemistry. I expect my rating of this will go up upon rewatches. 4/5 Stars.
4. Killers of the Flower Moon (dir. Martin Scorcese)
On a technical level, a masterpiece. Gorgeous cinematography and directing, and spectacular acting from the whole ensemble, but especially Robert De Niro and Lily Gladstone. This extremely important true story is told with gravitas and respect—however, I do wish that the Osage characters, who the story is about, were more centred in the film. It seems that Scorcese, whose entire filmography has explored themes of greedy, power-hungry white people, couldn’t break free of that mould when it might have worked to great effect here. In any case, the storytelling truly comes alive when the story focuses on the Osage characters. 4/5 Stars.
3. The Zone of Interest (dir. Jonathan Glazer)
Lots of people have said this film is about the banality of evil but it is about significantly more than that. The movie is about how the banal is in itself evil—that the idealised traditionalist lifestyle and the nuclear family are built upon the suffering of others. We can see this happening currently in the world around us. Ignoring it is a conscious choice, as the movie demonstrates. 4.5/5 Stars.
2. Anatomy of a Fall (dir. Justine Triet)
This is a brilliant courtroom drama that is carried by shockingly great performances. Sandra Hüller, is of course, fantastic, as is Swann Arlaud as her defence lawyer, but somehow the best performances of the year are from a child with a chic bob and a dog. This movie effectively depicts how language and narrative are twisted against women in the justice system and within their families and relationships. 5/5 Stars.
1. Oppenheimer (dir. Christopher Nolan)Yeah, at the start of the year, I wouldn’t have anticipated this either. But this is the best movie I’ve seen this year without a doubt. Technically masterful on every level. The acting is amazing across the board. The original score is the best of the decade. However, it’s the movie’s themes I keep returning to in my mind. What kind of person would get involved in the Manhattan Project? How can a person justify the harm they cause in the name of progress? Is all scientific innovation inherently political? Was J. Robert Oppenheimer a tortured genius or a coward who couldn’t commit to anything, not even his own feelings of guilt? (it’s the latter, based on the movie’s portrayal of him). 5/5 Stars.