ABBIE MILLER
Editor-in-Chief
I am what my generation calls a “film bro.”
I love watching movies, not just for a good time but to think about the deeper stuff that most of us avoid talking about in our daily lives.
I like to see different experiences and find ways to relate to them or appreciate the fact that I can’t.
In fact, I love watching movies so much that last year, I watched a total of 123 movies (no, this is not a reference to the film pirating website, and no, this was not done on purpose).
With all of my film-watching experience, I feel I am able to make accurate and knowledgeable judgments on the state of this year’s Oscar award-winning movies.
Warning: This article contains spoilers for every movie on this list. Read at your own risk.
A Real Pain
4/5 stars
Won for: Actor in a Supporting Role
I won’t mince words; this was an excellent film.
“A Real Pain” is Jesse Eisenberg’s directorial debut, and he also stars as David Kaplan, the lead character. This movie would be impressive even if it weren’t Eisenberg’s first, and the fact that it is amplifies the film’s success twofold, at the very least.
I don’t think that Eisenberg’s lead performance was praised as much as it deserved, which is, in itself, indicative of a large plot point within the movie and, in a way, works to further the film’s purpose and message.
Coupled with fantastic directorial and lead performances is Kieran Culkin’s masterclass of a supporting role, which he was well-deserving of the Oscar for.
Anora
4.5/5 stars
Won for: Actress in a Leading Role, Directing, Film Editing, Best Picture, Writing (Original Screenplay)
To me, “Anora” deserves all of the praise that it has received.
There are very few movies that I believe are able to incorporate fun, entertaining and humorous elements in some sections and absolutely devastating, realistic and personal moments in others. “Anora” does this flawlessly.
The work that Mikey Madison put forth in transforming herself into the lead role is palpable from the very first scene, as she immediately becomes a larger-than-life character that is somehow still able to display her vulnerabilities and emotions, albeit behind the curtain of her self-assuredness.
This film humanizes work that is often seen by the rest of society as “dirty” and “invalid” — a task that is perhaps equally as difficult as doing so with grace and without making it feel preachy.
This is the breakout performance for most of the cast, another element that I find fascinating because even this seems to be done intentionally, almost like the viewers, in combination with Ani, are stepping into this world we know nothing about, of rich Russians and sketchy family dynamics.
Wicked
2.5/5 stars
Won for: Costume Design, Production Design
I know that some people are going to have an issue with me rating “Wicked” this low. But I’ll repeat part of what I say about “The Only Girl in the Orchestra” — this movie just isn’t my cup of tea.
I’ve never been a huge musical enjoyer (although I will do an occasional rewatch of “High School Musical,” “Les Miserables,” “Hairspray” and the like), so I am very cognizant that this is likely part of the reason why I’m ranking “Wicked” so low in comparison to others on this list.
The directing was pretty solid, and the storyline’s pace, while it could’ve been improved at parts, was somewhat steady.
But what can I say? I just don’t really care.
The problem with me as an avid movie enjoyer is that I tend to care much less, and usually enjoy much less, films that are either fantasy-based or that are more light than they are deep.
I’m not saying I don’t think this is a good movie. What I am saying, though, is that I don’t think it’s a good movie for me.
Dune: Part Two
4.5/5 stars
Won for: Sound, Visual Effects
Okay, now scrap everything I just said about fantasy-based storylines. I love “Dune: Part Two.”
But hear me out.
The cinematography in this film, along with its predecessor, is breathtaking beyond words. As I said before, I watch a lot of movies, but there are few that I think compete with the “Dune” franchise when it comes to cinematography.
Match that with the fact that two of my favorite actors, Timothée Chalamet and Zendaya, play the movie’s lead roles? Yeah, obviously I’m going to like it.
And I know what you’re going to say next. Yes, Chalamet and Zendaya are both conventionally attractive. Yes, that may add to the reason why I like them and the movies they star in.
But it’s more than that. Their performances in this movie prove they are some of the best actors to come out of their generation. The way that they melt into their characters and develop their roles in ways that bring sense to an otherwise extremely confusing universe is spectacular and warrants all of the applause it receives.
Conclave
3.5/5 stars
Won for: Writing (Adapted Screenplay)
“Conclave” is subtly boring.
If you’re my mom and you already fall asleep during any movie that is more than 30 minutes long, I wouldn’t recommend trying to watch this. If you’re me and you are willing to sit through all 15-or-so minutes of the dreamlike-sequence in “2001: A Space Odyssey,” you may be able to see this film for what it’s worth.
Plus, the scene where the cardinals are arguing and one of the onlookers takes out his vape is absolutely hilarious to me.
The Brutalist
1/5 stars
Won for: Actor in a Leading Role, Cinematography, Music (Original Score)
I disagree with “The Brutalist” winning any awards.
My respect for this movie and everyone who participated in it was absolutely demolished when I learned that AI was used to edit the voices of Adrien Brody and Felicity Jones’ characters to make their Hungarian accents sound more realistic.
According to “The Brutalist”’s editor, Dávid Jancsó, the film’s $10 million budget and pressure to finish it as quickly as possible added to the reasoning behind the decision to use AI programming.
None of these reasons are good enough to warrant the use of artificial intelligence, in my opinion.
AI is already a substantial threat within the creative sphere as artists struggle to have their work recognized and compensated in a world that values efficiency over quality.
The budget could have easily been increased, especially with stars such as Adrien Brody and Felicity Jones making appearances. If they really wanted or needed to, I’m sure either of these actors could have donated money to help production or agreed to have their cut of the profit minimized.
Furthermore, if the filmmakers wanted the movie to be completed earlier, they could have shortened it. In fact, that would’ve actually made the film better.
“The Brutalist” is a whopping three-and-a-half hours long — so lengthy that a built-in intermission occurs in the middle of it.
I am no stranger to long movies. I watched — and thoroughly enjoyed — “Killers of the Flower Moon,” a film that was a little under the same length. “Titanic” is over three hours long, and yet it is still considered a classic, and for good reason.
A film can itself both warrant a long run-time and benefit from it. “The Brutalist” does neither.
I have other issues with the movie as well. Maybe it’s because I don’t know anything (or care to know anything) about architecture, but “The Brutalist” was horribly boring for me. The intermission was unnecessary. The ending was lackluster and felt rushed in comparison to the amount of time when nothing of importance was happening on-screen.
Overall, if I hadn’t watched “The Brutalist” for the sake of this article, knowing what I know about the director’s use of artificial intelligence within it, I wouldn’t have watched it at all.
Flow
2.5/5 stars
Won for: Animated Feature Film
Unlike “In the Shadow of the Cypress,” this film is almost an hour and a half long. Like “In the Shadow of the Cypress,” it has absolutely no dialogue (unless you count the sounds the animal characters make).
My attention span is much too short for this movie, which is why I am rating it so low.
However, I will say that it is a feat to beat out Pixar movies for the Oscar for Animated Feature Film, and I think part of what sealed the deal for “Flow”’s win is the animation of water, which this movie is full of. I don’t even want to know how difficult it is to animate water, but it surely doesn’t seem easy.
In the Shadow of the Cypress
3.5/5 stars
Won for: Animated Short Film
For a movie with no dialogue and an extremely minimal runtime, “In the Shadow of the Cypress” accomplished everything that it set out to do.
This movie was well done and a vividly accurate depiction of the reality of living with PTSD and being a caregiver to those with the disorder.
No Other Land
5/5 stars
Won for: Documentary Feature Film
Oh my god.
I’ve only watched half of this documentary at the time that I’m writing this, and I’m having a hard time even beginning to explain my thoughts and feelings.
I am so glad that this documentary won this award. I haven’t watched any of the other films nominated for this category, but I find it hard to picture any other documentary more deserving of this award than “No Other Land.”
This should be mandatory viewing, if not for the entire world, then at least in the U.S. and Israel.
To give you a quick synopsis of the documentary, Basel Adra, the director and one of Masafer Yatta’s residents who was forcefully displaced by the Israeli government, invites Yuval Abraham, an Israeli-born journalist, to help him document the events of the community’s expulsion from their homes.
Towards the beginning of the film, Adra tells Abraham that perhaps, if Abraham’s articles get enough international traction, they will reach American eyes and pressure the United States government to act in defense of Masafer Yatta and Palestinians in general. Since I had some background knowledge of the long-standing tension between Israelis and Palestinians, I knew what would come of this hope. It would be torn down after the American government decided not to defend but to take action to actively oppose Palestinians in the struggle for them to maintain the land that they had inhabited for decades prior.
As the years pass, Abraham continually tells Adra that his articles are not getting enough views. At least, not enough as they had hoped and certainly not enough to create the necessary pressure needed for the American government to take action.
But will it ever be enough? During the past few years, people all around the world have had front-row seats to the devastation occurring in Gaza, and yet it continues. The devastation of communities like Adra’s is ongoing. And it deserves all of the acknowledgement it can get.
Due to the more recent events regarding Israel and Palestine that reached international audiences, I had a general base knowledge going into this documentary of the events that have occurred both in the distant and recent past regarding the two nationalities. I was also able to gather knowledge on the topic due to “The impact of the war in Gaza on the 2024 election,” an article I wrote in The Leader’s Fall 2024 Issue 3. This article can serve as a starting point for those who aren’t aware of the complexities and history of this conflict.
The Only Girl in the Orchestra
2/5 stars
Won for: Documentary Short Film
I’ve rated this movie relatively low, not because I think its premise or content is bad, but because I don’t personally connect with it. I can appreciate the hardship that this woman went through without necessarily believing that this film is my speed, both metaphorically and physically.
“The Only Girl in the Orchestra” is realistic because it shows some of what it’s like to experience familial disagreement, which is often not fully explored for the sake of keeping the peace.
While I understand that the niece, who is the film’s director, did not wish to upset her aunt by delving into conflicts on camera, I also think that this documentary suffers from viewing these problems on the surface and never really plunging past that.
We find out about Orin O’Brien, the subject of the documentary, and the details of her life story, which is, of course, interesting in its own right. But those moments where we begin to see some more complex themes, such as the struggle of being the child of Hollywood stars or the fight against recognition for the sake of humility and perhaps self-consciousness, are all cut short and never fully explored.
I’m Still Here
?/5 stars
Won for: International Feature Film (for Brazil)
I could not find this movie anywhere without having to pay for it, which really sucks because every film that I’ve seen that has either been nominated for or won the International Feature Film Oscar has been absolutely spectacular.
At the very least, no matter what this film is like, it is guaranteed to be better than “Emilia Pérez” — which was also nominated for this Oscar — although I haven’t seen that film either.
The Substance
3/5 stars
Won for: Makeup and Hairstyling
I completely agree with “The Substance”’s win for makeup and hairstyling.
While incredibly disturbing, I don’t know that the movie would be half of what it is without the gory, disgusting scenes of Sue emerging from Elisabeth’s back or the physical deterioration of Elisabeth and Sue. For those who have never been criticized for their physical appearance or told that their only value comes from the way they look, the physical depiction of “The Substance”’s characters and the changes that they endure throughout the movie’s runtime serve as a stark visualization of this reality, which would be impossible to convey as potently without the masterful team behind the cast’s makeup.
I’m Not a Robot
3/5 stars
Won for: Live Action Short Film
Similar to “In the Shadow of the Cypress” in runtime, “I’m Not a Robot” will make you think twice when checking that reCAPTCHA box.
Tackling questions about identity and self-worth in a time when uncertainty is the standard, “I’m Not a Robot” meets the perfect sweet spot of having just enough substance to leave you questioning without the finality that would make you forget the movie a week later.
Emilia Pérez
0/5 stars
Won for: Actress in a Supporting Role, Music (Original Song) (“El Mal”)
I refuse to watch this film in light of comments made by its director, Jacques Audiard, about Spanish being “a language of developing countries, humble countries, of the poor, of migrants.”
I also want to note that “Emilia Pérez”’s casting included a very small number of Mexicans, which is odd because the film takes place in Mexico. Only one of the four members of the main cast is actually Mexican, despite the film portraying all of them as such.
According to casting director Carla Hool, the filmmakers “searched Latin America and Mexico for actors, but ultimately, they believed that they had chosen the best ones for the job.” The “best [actors] for the job” being referred to here are largely non-Mexican, meaning that apparently nobody who had auditioned in Latin America and Mexico was good enough, by “Emilia Pérez”’s filmmakers’ standards, for the part.
The film’s French director also admits to only studying the bare minimum of Mexico and Mexican culture that he deemed necessary for the film, which is another concerning comment considering the film takes place in Mexico and is attempting to serve as a representation of the Mexican experience.