50. Elton John: Never Too Late (Best Original Song)
I maintain a position of agnosticism towards celebrity biodocs, as they often hit the same predictable beats and stories as a “Behind the Music” episode. Elton John: Never Too Late proves my theory correct, as it’s essentially a non-fiction, less interestingly stylized version of Rocketman, where Elton himself retells the story of his career. Maybe die-hard fans of John’s will find some enjoyment here, but even getting the opportunity to hear some of his most well-known hits felt perfunctory. Were it not for the obligatory original song, Elton John: Never Too Late would likely just live on forever as yet another celebrity vanity project that comes and goes every year.
49. The Six Triple Eight (Best Original Song)
Another year, another wasted Oscar nomination on a Diane Warren song. This year’s cannon fodder comes from The Six Triple Eight, Tyler Perry’s attempt at WWII prestige following the true story of a regiment of Black women soldiers who overcome sexism, racism, and fascism by… sorting through the mail. Less than halfway through the film, it’s clear that Perry has no interest in making anything besides a perfunctory depiction of Black feminism, full of thinly-drawn characters, predictable story beats, student-grade visual effects, and laughable attempts at racial commentary – and the remainder of the film doesn’t dispute this. That the film also wastes the talents of stars like Kerry Washington, Sam Waterston, Susan Sarandon, and more makes The Six Triple Eight one of the least satisfying films of this year’s crop of nominees, and one of the worst films of 2024.
48. The Last Ranger (Best Live Action Short)
The Last Ranger’s heart is in the right place, and that’s perhaps its greatest strength and biggest weakness. Few people in the world – and even fewer who watch the Oscars – would publicly come out in favor of rhinoceros poaching, so that leaves the film with little room to work with narratively. There’s the potential for an emotionally impactful father-daughter story here, but it’s too concerned with surface-level sentimentality. Director Cindy Lee’s first film doesn’t offer much of substance to say, nor is it particularly well made, but if The Last Ranger can shine a light on some of the darker aspects of humanity, I suppose it’s not a total loss.
47. Beautiful Men (Best Animated Short)
This is likely just a me problem, but I was summarily turned off throughout much of Beautiful Men’s runtime. The stop-motion animated story of three brothers in search of a hair transplant features some welcome character details that elevate the very simple premise, but there’s too much unpleasant weirdness to look past. Throughout 19 minutes, director Nicolas Keppens explores sibling relationships and male insecurity by focusing on what’s led them to seeking such a vain procedure. Maybe if I revisit the film down the road when I’m in a better mood, my review will be a little rosier, but for now I remain unimpressed with the end result.
46. Gladiator II (Best Costume Design)
Who would have thought that Gladiator II, the long-gestating sequel to a Best Picture winner – from Ridley Scott, no less – would have felt so lifeless in execution? Essentially replaying most of the same beats from the original film, Gladiator II at least has a few fun action sequences where Scott was able to play with technology that’s evolved in the past 20 years, plus a fully unhinged Denzel Washington performance. But these are small potatoes in what is ultimately a hollow experience, and a far cry from its predecessor.
45. Emilia Pérez (Best Picture, Best Director, Best Adapted Screenplay, Best Lead Actress, Best Supporting Actress, Best Film Editing, Best Cinematography, Best Original Score, Best Sound, Best International Feature, Best Original Song, Best Makeup and Hairstyling)
The de facto lightning rod of this year’s awards season comes as Emilia Pérez, Jacques Audiard’s operatic story of transformation. Whether you love or hate the film, Audiard’s dedication to making his unique vision a reality is what has drawn audiences to the film. What holds the film back, aside from its questionable depictions of trans people and Mexicans, is in its bizarre semi-commitment to its musical trappings. Songs will start and stop before they fully have a chance to get off the ground, and the film’s final act becomes a bizarre action set-piece mash-up. Yes, it’s progressive and exciting to see so many worthwhile causes represented on screen, but with Emilia Pérez it’s hard not to leave the film without feeling frustrated by unrealized potential.
44. Anuja (Best Live Action Short)
There’s a potent humanity bubbling under the surface in Anuja, but it’s held back by its shortened runtime. The story follows two young sisters from an Indian slum who work tirelessly in a sweatshop as seamstresses, and the younger finds an opportunity to attend a boarding school. There’s some interesting tension between Anuja’s desire for a better life and her loyalty to her sister, but the film needs more time to really sell the conflict. First-time director Adam J. Graves has the kernel of a worthwhile film with Anuja, and he directs the film competently, but the end result ultimately rings hollow.
42. Inside Out 2 (Best Animated Feature)
2024 was the year of studios making prequels/sequels/spin-offs that mostly repeat the previous film’s beats, and Inside Out 2 feels perhaps most emblematic of this strategy. Returning most of the stellar voice cast of Inside Out, and adding a fantastic Maya Hawke, went a long way in making an introspective look at adolescence and all its hardships. And while the end result is an inoffensive, mostly fun experience, it never reaches the highs of its predecessor, too frequently regurgitating sentiments and ideas with slight tweaks that felt revolutionary 9 years earlier.
43. A Lien (Best Live Action Short)
Perhaps the most heavy-handed of all the short films, the bizarrely titled A Lien plays as efficient and tense. From its opening moments, the film establishes its quick rhythm and sense of chaos, as a husband, wife, and their daughter drive to the immigration office for his green card interview. Directors Sam and David Cutler-Kreutz never let the foot off the gas, making all 15 minutes feel urgent without overloading the senses, but it often feels like the filmmakers are prioritizing a message at the sake of the characters. As a scathing (and unfortunately timely) indictment of our broken immigration system and the underhanded tactics the agents apply, A Lien succeeds. As a character drama and a fully formed story, the film comes up short.
41. Magic Candies (Best Animated Short)
There’s plenty to like in Magic Candies, including some colorful animation that adults and kids can gravitate towards. But once the plot starts to reveal itself more, each development becomes more and more predictable and surface-level. The film follows a lonely boy who discovers that what he thought were marbles are actually candies, and when he starts eating them one at a time, they possess magic properties. Usually these manifest by allowing the boy to talk to inanimate objects or people, making him feel less alone and provide some sort of understanding of his situation. The film is certainly easy to get through, but just doesn’t linger long enough in the consciousness like some of the best in the short films can.
The Movie State 