Category Archives: Oscars 2024

Awards, Oscars 2024, Special Features

Every 2026 Oscar Nominee Ranked

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50. Diane Warren: Relentless (Best Original Song)

Just as Diane Warren will always receive an Oscar nomination so long as she’s eligible, her films will likely always be at or near of the bottom of my rankings. This year’s wasted nomination comes in the form of Diane Warren: Relentless, a celebrity vanity doc focused on its subject’s long and fruitful career. The film hits all the expected beats that can be gleaned from a Wikipedia page, including segments on Warren’s rocky relationship with her mother, and her love of animals. The talking heads – mostly singers and music producers who’ve worked with her before – essentially repeat the same notions: she has a tireless, sometimes grating, work ethic, but the results are always worth it. One sometimes wishes the Academy would just spare us all and give her an Oscar already, but Diane Warren: Relentless isn’t worthy of recognition of any scale.

49. Jurassic World: Rebirth (Best Visual Effects)

Jurassic World: Rebirth became the first entry in the franchise to receive any Oscar recognition since Spielberg’s films, and while last year’s film was a mild improvement over the most recent trilogy, there’s really nothing to be found in this installment to justify its existence. Scarlett Johannsen, Jonathan Bailey, and Mahershala Ali do their best in a film that feels like a studio mandate to pit humans against dinosaurs at all costs. At least director Gareth Edwards and screenwriter David Koepp manage to keep lame callbacks to previous films out of this one. Sure, the VFX are big-screen worthy, and the action scenes are inventive, but there’s nothing particularly evolutionary to be found anywhere within Rebirth.

48. Arco (Best Animated Feature)

Independent animation took two steps forward with last year’s Animated Feature winner Flow, but take one step back with Arco. Beyond director Ugo Bienvenu’s uninspired story about a time-traveling kid who has to find his way home again, the film simply isn’t appealing to look at. With a simplified, pre-CGI Disney animation style, the film harkens back to the era with its storytelling. The English dub features a dual voice performance where both Mark Ruffalo and Natalie Portman voice a robot, but if you’re not able to see this version, you’ll be out of luck with one of the few positive elements to be found with Arco.

47. The Girl Who Cried Pearls (Best Animated Short)

On one level, I admire the craft and dedication which went into making The Girl Who Cried Pearls. The only stop-motion animated nominee this year has a certain aesthetic that’s easy to appreciate – a kind of early-twentieth century setting which lends to minute details in its craft. The film tells the story of a poor boy, a greedy jeweler, and a girl who literally – you guessed it – cries pearls. It’s hard to parse if there’s a larger point which directors Chris Lavis and Maciek Szczerbowski are trying to make, but if the film exists as a sort of generational fable or fairy tale, it’s still not terribly interesting.

46. Viva Verdi! (Best Original Song)

There’s not much to object to within Viva Verdi!, a light documentary about how essential it is to find your passions, regardless of one’s age. Director Yvonne Russo’s film follows the residents of Giuseppe Verdi’s retirement home for musicians, opera singers, and artists of all kinds, depicting in detail their past and present circumstances. But the entire thing can’t help but feel like an extended segment pulled from “CBS Sunday Morning”, with little intrigue, surprise, or deep cultural relevance below the surface. Yes, the arts are worth cherishing, and Verdi’s grand accomplishment deserves the spotlight, but I’m not sure it ever rises to the caliber of a deserving Oscar nominee.

45. A Friend of Dorothy (Best Live Action Short)

Once A Friend of Dorothy sets up its premise, writer-director Lee Knight throws any subtlety or surprises out the window. The film centers on a wayward youth who unexpectedly befriends a lonely, elderly widow and she helps awaken his love for the arts. Treacly as this all may be, the film becomes even more cartoonish once the woman’s self-centered grandson makes an appearance and assumes he’ll eventually inherit her fortune. You can probably fill in the blanks on where A Friend of Dorothy goes from here, and while the film is well performed, it could have used a second pass for a more interesting look at a multi-generational friendship.

44. Sirāt (Best International Feature)

One of the standouts from last year’s Cannes film festival has the hook to be an interesting experience, but Sirāt too often feels like an exercise in misery. It’s a simple enough logline: a man ventures through the desert rave scene, hoping to find his missing daughter. Oliver Laxe makes the film a full sensory experience, as Kangding Ray’s thumping techno score envelopes the viewer as the journey becomes more and more harrowing. But I struggled to understand Laxe’s full purpose once the film ends, instead finding a series of unfortunate events with no greater thematic relevance.

43. The Ugly Stepsister (Best Makeup and Hairstyling)

A historically accurate, horror-leaning take on the Cinderella fairy tale which The Ugly Stepsister provides is admirable enough, but there isn’t much more to explore within this version of the story. To be fair, the film earns its nomination for Best Makeup & Hairstyling, especially in the later portions when the body horror goes front and center. But this is not just a new version of The Substance, for the uninitiated, as it explores a different cultural perspective to beauty, and the lengths we’ll go to attract the opposite sex.

42. Song Sung Blue (Best Actress)

I like Kate Hudson. I like Hugh Jackman. I’ve liked most of director Craig Brewer’s films. So why am I so low on Song Sung Blue? It could be its surface-level depiction of Hudson’s depression/painkiller addiction after an unfortunate accident. It could be its familiar story of chasing your dreams, no matter your age, where Jackman and Hudson form a Neil Diamond tribute band simply for the love of performing. The film does go down smoothly, in part because of its many musical interludes and the aforementioned performances. But anyone looking for a deeper look at a true story with some unexpectedly dark turns would probably be better suited checking out the documentary of the same name.

41.Children No More: Were and Are Gone (Best Documentary Short)

I won’t complain at all about the subject matter within Children No More: Were and Are Gone, as it’s one I stand with and sympathize with immensely. That is, the genocide perpetrated by Israel in Gaza, and the daily, indiscriminate killing of children since 2023. The film looks into a group of Israeli organizers, whose form of protest is silently displaying the photos of the kids killed by the IDF not just in Gaza, but in Iran and Israel. You would think that you’d be hard-pressed to find anyone who disagrees with such a sentiment, but we often see how angry and hostile the Israeli public becomes once they encounter the demonstrations. Unfortunately Children No More never really digs deeper beneath the surface of the movement, to show how it’s affected the country on a larger scale, or the lives of the people who choose to participate. Instead, we’re left with the simple but effectively imagery of what’s been lost at home and abroad.

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Awards, Oscars 2024, Special Features

Every 2025 Oscar Nominee Ranked

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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.

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Oscars 2024, Special Features

Every 2024 Oscar Nominee Ranked

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53. NYAD (Best Actress, Best Supporting Actress)

Yes, Oscar nominees Annette Bening and Jodie Foster deliver engaging – and, in Bening’s case, extremely physical – performances. But the problem with NYAD lies in its disposable screenplay that utilizes every biopic cliché. What Diana Nyad (Bening) accomplished should absolutely be celebrated, but she’s such an unlikeable protagonist that it becomes difficult to root for her. There isn’t anything particularly memorable about the film, aside from the embarrassing B movie-level flashbacks and visual effects, making directors Elizabeth Chai Vasarhelyi & Jimmy Chin’s first narrative feature something that should make them consider returning to the world of documentaries.

52. The ABCs of Book Banning (Best Documentary Short)

Look, the premise for The ABCs of Book Banning was essentially a slam dunk from the beginning. It likely won’t change anyone’s mind once it’s over, often preaching to the choir of people who are already informed on its subject, and that’s the film’s biggest failing. Sheila Nevins’s documentary looks at the rise of the practice of banning and restricting certain books in mostly Republican-held states. But rather than hear from the adults challenging these policies, it’s a film that gives a voice to the very children who these policies effect, and what’s lost when they’re unable to read certain books. The animation isn’t great whenever it portrays the books discussed, and the discussion isn’t the most nuanced, but it’s no less important.

51. War is Over! (Best Animated Short)

Maybe I shouldn’t be surprised that an animated short that references John Lennon and Yoko Ono’s titular saccharine song is so overly saccharine. Director and co-writer Dave Mullins undoubtedly had good intentions when crafting War is Over!, but you essentially know where the film is headed once its premise reveals itself early on. The film tells the story of two WWI soldiers on opposite sides of the conflict as they play chess via carrier pigeon. The animation is noteworthy and eye-catching, but that’s mostly where the praise ends for this overly safe animated short.

50. Invincible (Best Live-Action Short)

Invincible is a perfectly fine, if forgettable, live-action short about the final hours of a troubled kid. There’s great potential for director Vincent René-Lortie to make the short into a feature, and allow more time for us to live within Marc’s (Léokim Beaumier-Lépine) head space. Lépine gives a performance beyond his years, making Marc a character with real complexity. Invincible could easily feel like misery porn, as is traditionally the case with this category; the fact that it’s based on a true story doesn’t help. But it’s ultimately tinged with a sense of hopefulness, in a strange way. The film shows promise as is, but it’s hard not to leave wanting more.

49. Golda (Best Makeup and Hairstyling)

Perhaps the most unlikely Oscar nominee this year, Golda mostly received its nomination because of how utterly unrecognizable Helen Mirren becomes. As Israeli Prime Minister Golda Meir, Mirren fully inhabits a woman with the weight of the world on her shoulders, plunging her country into deadly conflict. The film isn’t anything particularly special narratively speaking, often sticking to the historical biopic structure, but director Guy Mattiv utilizes some interesting flourishes to at least hold your attention. That the film was released in the same year as another ongoing conflict in Israel isn’t Golda‘s fault, but without it, it’s hard to understand why the film needed to be made in the first place.

48. Indiana Jones and the Dial of Destiny (Best Original Score)

Is Indiana Jones and the Dial of Destiny a bad film? Not exactly. Of course, when you measure director James Mangold’s entry against most of Spielberg’s previous entries in the franchise, you’re destined for failure. The film has some enjoyable action set pieces, Harrison Ford and Phoebe Waller-Bridge are fine enough together, and it serves as a better send-off for Indy than Kingdom of the Crystal Skull. It is a little absurd that composer John Williams seemingly gets a free pass for his forgettable score for the film, but overall Dial of Destiny isn’t worth raising your ire. Instead, it’s just another misbegotten legacy sequel where nobody but the studio executives that pushed the project can really be blamed.

47. Red, White and Blue (Best Live-Action Short)

What appears to be a fairly straightforward, if familiar, story about a woman seeking an out-of-state abortion with her daughter takes an incredible turn in its final moments in Red, White and Blue. Brittany Snow and Juliet Donenfeld are delightful together as they share a mother-daughter bond that goes a long way in selling the film’s message. Writer-director Nazim Choudhury lays the schmaltz on fairly thick throughout the film, but it’s well intentioned and packs an important message.

46. El Conde (Best Cinematography)

I like director Pablo Larraín’s films, and it’s clear that El Conde came from a place of genuine emotion for him, with the film’s connection to his home country. A portrait of Chilean dictator Augusto Pinochet, who happens to be a vampire, is an incredibly clever concept for a satire. But Larraín and Guillermo Calderón’s screenplay doesn’t contain enough bite (sorry) or enough humor to remain in the conversation compared to Larraín’s previous work. Oscar nominee Edward Lachman’s black-and-white cinematography stands out in a crowded field, but El Conde feels like a bit of wasted potential from one of cinema’s smartest voices.

45. Knight of Fortune (Best Live-Action Short)

Knight of Fortune perhaps raises more questions than it can answer, but at least it’s simple and emotional enough to mostly forgive these issues. A man arrives at the morgue to say goodbye to his wife, but finds himself unable to do so. But thanks to a misunderstanding, a stranger comes along and helps him navigate his grief in unexpected ways. It’s the kind of also-ran nominee that comes along in the Best Live-Action Short category every year that goes down easy but doesn’t leave much of a lasting impression.

44. Pachyderm (Best Animated Short)

There’s always at least one short film nominee that portrays kids in peril, and Pachyderm seems to fill that slot in the animated short category this year. The animation is fine enough, a kind of loose chalk pastel aesthetic, as it matches its subject matter of looking back on childhood through an adult’s eyes. The menace in director Stéphanie Clément’s film is well hidden until the end, which re-contextualizes the events of before, where a child spends her summers with her grandparents in the countryside. Screenwriter Marc Rius mostly avoids narrative shortcuts with Pachyderm but there aren’t enough positives to be found to keep this out of the bottom portion of this list.

42. Island in Between (Best Documentary Short)

S. Leo Chiang’s Island in Between takes a micro and macro look at a lesser-known conflict between Taiwan and China. Chiang tells the story of the Taiwanese island of Kinmen, and its difficult relationship with China, and the people caught in the middle, including his own family. Perhaps most in need of expanding to feature length, Island in Between deals with some important topics and ideas, but suffers by shortening material that needs more room to breath.

43. Letter to a Pig (Best Animated Short)

I’ve said it before and I’ll say it again: my favorite aspect of the animated short category is in seeing the variety of animation styles that you simply cannot find elsewhere. Letter to a Pig features some wonderful animation that works with its themes. The simplistic film tells the story of a Holocaust survivor retelling his harrowing journey as he avoided the Nazis, and the pig that saved his life. It’s a unique angle to take on the Holocaust – a perpetual favorite topic in the short film Oscar nominees – but I struggle to remember much of the film’s substance beyond its great animation style.

41. Rustin (Best Actor)

Colman Domingo is one of my favorite actors working today, which is why it’s a kind of double edged sword to see him receive his first Oscar nomination for Rustin. Another copy-and-paste biopic formula comes to the life of Bayard Rustin (Domingo), and his efforts to plan the March on Washington. Domingo is inarguably fantastic in the role, portraying Rustin’s charisma while never backing away from what made him a polarizing voice at the time. But the film never distinguishes itself, nor does it really have anything unique to say about the Civil Rights movement. Here’s hoping that Domingo will eventually receive a nomination for a film that lives up to his talents.

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