// Foreword
Well, well, well, if it isn’t the pesky old Awards Season, back to entertain us once again. Leading the pack as usual is the granddaddy of all awards shows – The Academy Awards. Oscar returned March 10, where a group of random, unqualified people determine what the best films of the past year have been.
If they can do it, why can’t we?
The GCR crew decided to spin our hats around backwards, strike a post, and watch em all.*
Read on to see what 2R, NotAnAccountant, and Parker have decided are their picks for most of the categories at this year’s Academy Awards. You can also expect a surprise (well, I guess not anymore) cameo from LadyFeathers giving their thoughts on the animated greatness of the past 365 days.
So buckle up you freaks and get ready for some opinions.
*we skipped some categories because we didn’t have time
// Best Picture
2R’s Pick: Past Lives
Past Lives was simply the most beautiful and impactful film of the last year. It is not only one of the most impactful of the year, but one of the most I have ever seen.
NAA’s Pick: Oppenheimer
Oppenheimer threads the needle in a way that none of the other films in the list do. It is at once a depiction of a tortured person, an account of a momentous event in our history, entertaining to watch, existential but also not without its humorous moments. A true balancing act that even has Nolan unable to resist putting in an MCU-style cameo namedrop right at the end. Visually stunning, pinpoint pacing and a compelling story along with the general cultural impact this film had that was so unusual for movies of this ilk for me makes it the Best Picture.
Parker’s Pick: Oppenheimer
Now, I must disclose I love every Christopher Nolan film (yes, even Tenet, dialogue mixing choices aside). But I love Oppenheimer and it’s undoubtedly Nolan’s magnum opus. It blends the incredibly grandiose, cinematic, non-linear storytelling Nolan has become known for, all while being an intimate, introspective look at the existential crisis of one J. Robert Oppenheimer. Truly a masterful film.
// Best Director
2R’s Pick: Christopher Nolan (Oppenheimer)
This might have been the toughest pick for me of all the awards. I think Jonathan Glazer (The Zone of Interest) and Yorgos Lanthimos (Poor Things) could just as easily be justified to win this award, as they each made incredibly unique movies.
What put Nolan ahead for me were the unique directorial decisions that made Oppenheimer what it was. The decision to shoot the thing on IMAX film, the decision to balance different parts of the story in black and white versus colour as a storytelling mechanic, hell, he had to go out and create IMAX film that could be used for the black and white scenes just for this movie.
The iconic trinity scene will forever go down as an all-timer in my mind, and the decision to actually set off a big old kaboom practically is a distinctly Nolan-flavoured move.
Overall, the ability to make a 3-hour movie of mostly dudes in suits talking feel exciting and look good while doing it is quite the accomplishment.
NAA’s Pick: Christopher Nolan
A tour de force from Nolan where he combined all his sensibilities he’s picked up from smaller films he’s made as well as blockbusters. The artistic choices from a technical aspect were excellent.
Parker’s Pick: Christopher Nolan, Oppenheimer
Christopher Nolan is long overdue for an Academy Award. I’d argue any of his directing work from the last 10 years would’ve been enough to finally get him the Oscar, but Oppenheimer feels like it’s the culmination of Nolan’s 20+ years in Hollywood. It’s no easy feat to combine the epic of Inception or Interstellar and the slightly more subduedness of The Prestige or Memento. Nolan’s ability to pull that very thing off in Oppenheimer is astounding, not to mention his innovations in film technology for his film and constant advocacy of the theatrical experience, makes Nolan a no-brainer.
// Actor in a Leading Role
2R’s Pick: Paul Giamatti (The Holdovers)
Of all the performances here, Paul Giamatti gave the one that was simply the most fun to watch. He was able to manage a perfect balance of comedy, tenderness, and being a grouch. I also think that of all the Leading Role nominees, Giamatti would be the hardest to replace. His job playing Paul Hunham is integral.
NAA’s Pick: Cillian Murphy
Who had more iconic shots centered on just his facial expressions than Cillian Murphy? Exactly.
Parker’s Pick: Cillian Murphy, Oppenheimer
So much of why I love Oppenheimer is because of Cillian Murphy. Don’t get me wrong, I love the film for a multitude of reasons pertaining to Nolan’s directing and creative choices, but Murphy’s devastating, personal performance anchors the film for me. It’s not flashy, in fact it’s incredibly subtle — but that absolutely works in Murphy’s favour here. Murphy conveys the inner turmoil of Oppenheimer perfectly, through his facial expressions alone, and to be that compelling and engrossing — for three hours, mind you — makes his performance so impressive.
// Actress in a Leading Role
2R’s Pick: Emma Stone (Poor Things)
Emma Stone nailed a very, very difficult role. A role that changed as the movie went on. She had to portray not just character development, but literal development as she matured from a baby throughout the movie.
She took on the challenge of portraying one of the most unique characters in one of the most unique movies of the year, and it paid off.
NAA’s Pick: Lily Gladstone
Playing the central indigenous figure who has to portray the complexity of being in love with her oppressor is a line that is nigh impossible to balance and Lily Gladstone does it effortlessly. Balancing complex emotions in a tragic tale that ended up hinging on her performance more than anyone else’s makes her an easy pick in my opinion.
Parker’s Pick: Lily Gladstone, Killers of the Flower Moon
Lily Gladstone’s performance was one of my favourites of the entire year, and not just in this category. Like Murphy’s in Oppenheimer, Gladstone’s performance is subtle. But in Killers of the Flower Moon, she’s the heart and soul of the entire film. What was initially written as a supporting character to Leonardo DiCaprio’s Ernest Burkhart, is elevated to the standout performance by Gladstone. The entirety of the film hinges on Lily Gladstone’s ability to convincingly portray the subtleties and complexities of Mollie, and she does so brilliantly here.
// Actor in a Supporting Role
2R’s Pick: Robert Downey Jr. (Oppenheimer)
What can I say except he nailed it. I think RDJ was the standout performance of the entire film.
NAA’s Pick: Ryan Gosling
As someone who didn’t particularly like Barbie, I think Ryan Gosling was by far the most entertaining part of the film. Most of the other nominees are one of many, but Gosling was unilaterally the driving force of the movie in terms of its energy and even the hamfisted message it pushed. I cannot see many who could replicate the performance with the same vibe. There’s a reason Greta Gerwig worked for months to convince him to take the role even when he initially didn’t want it.
Parker’s Pick: Robert Downey Jr., Oppenheimer
Robert Downey Jr.’s performance as Lewis Strauss in Oppenheimer is superb. It’s not a subtle performance, as Murphy’s is, and it’s a departure from the more heroic and charismatic roles he’s taken on in the past, but I think for that very reason he deserves the Oscar for Oppenheimer. On the surface, there is a familiar level of snark, and self-assuredness, but as the film progresses and Strauss becomes increasingly unwound, the facade begins to crumble and he’s shown to be insecure, jealous, and vindictive. A lot of the film hinges on his ability to portray these complex emotions, and I think Robert Downey Jr. excels here.
// Actress in a Supporting Role
2R’s Pick: Da’Vine Joy Randolph (The Holdolvers)
Da’Vine brings her talents to the eclectic cast of The Holdovers, playing the much-needed sane person among the group. A performance equal to Paul Giamatti in every way, at times, even stealing the show for herself.
NAA’s Pick: Da’Vine Joy Randolph
She brought the movie together by being the straight man in a kooky story and played it very well.
Parker’s Pick: Da’Vine Joy Randolph, The Holdovers
Da’Vine Joy Randolph’s performance was the standout for me in The Holdovers. She brings a sense of humanity and vulnerability to the film, and I thought her performance was incredibly convincing and moving.
// Cinematography
2R’s Pick: Oppenheimer
The film is a collection of beautifully composed shots akin to fine portraiture. Cinematographer Hoyte van Hoytema has even talked about how important it is to make a bunch of talking-head shots interesting.
No shot is there “just because.” Each shot tells a story, whether that be a close up to give a look at someone’s psyche, or to show what a character is feeling. They had to get very creative when shooting in small spaces with a big ass IMAX camera, utilizing lenses in new ways, and even building a new lens.
This is all in addition to the trinity scene, which needs no explanation.
NAA’s Pick: Oppenheimer
The trinity scene of course is the piece de resistance of the film, but the choices and the artistry that went into almost every shot is immaculate. Hoyte van Hoytema never misses and he didn’t miss here either.
Parker’s Pick: Oppenheimer
Hoyte van Hoytema’s work is nearly unmatched. I’ve loved his work since his first collaboration with Nolan on Interstellar, and that continues with Oppenheimer. Every shot in Oppenheimer has purposeful artistic intent behind it. Hoytema talked about wanting to convey the idea that we’re seeing the world through Oppenheimer’s eyes — that vision clearly comes through in the final film. If that wasn’t enough, they created an entirely new black and white film stock that didn’t exist so they could project those B&W sequences in IMAX. This is another no-brainer for me.
// Film Editing
2R’s Pick: Oppenheimer
If the cinematography kept this movie pretty, then the editing kept it interesting. The task fell to Jennifer Lame, who has editing credits on some of my other favourites, Hereditary and Manchester by the Sea. She was certainly up to the task, making the 3-hour-long movie breeze by with perfect pacing.
Blending together different time periods, as well as the reality of the movie and what Oppenheimer was seeing in his mind, was surely not an easy task.
NAA’s Pick: Oppenheimer
Hoyte van Hoytema’s work is elevated by the balancing act that Jennifer Lame does in lingering on the right shots for just the right amount. The cutting between scenes in different moments in time and making the pacing seem rapid despite the runtime was a work of art.
Parker’s Pick: Oppenheimer
Oppenheimer was a masterclass in so many aspects of the filmmaking process, and the editing from Jennifer Lame was no different. It would’ve been very easy for the film to feel like a slog to get through, considering it’s a 3-hour biopic, but Oppenheimer was riveting through and through and was one of the quickest 3 hours I’ve experienced in quite some time. Not to mention, managing the three separate timelines throughout was a feat in itself.
// Costume Design
2R’s Pick: Poor Things
Holly Waddington was the designer who worked on the costumes for Poor Things, and what a job she did. The outfits feel like the perfect blend of Victorian period piece outfits, and a fantasy fashion show. It matches the vibe of the movie perfectly.
But Holly didn’t just make the outfits whacky and weird for the sake of it, there was a lot of consideration. The outfit for “baby” Bella was designed to have many different juxtaposed elements that could be removed, like a child might as the day goes on. Another example is the wedding dress which was designed with tubing to give a feeling of entrapment, like a cage.
You can ready more about it here: https://archive.is/2VCaf
Parker’s Pick: Barbie
I loved how integral Barbie’s costumes were to the film and its characters. Every costume felt like it served a purpose, and was purposeful. It wasn’t just the costumes included in the Barbieland segments, but also the choices used in the real-world. The pinkness and novelty of it all could’ve grown tiresome, but I thought they handled it all incredibly well and added a fun dimension to the film’s aesthetic.
// Makeup & Hairstyling
2R’s Pick: Poor Things
While the whole cast was done up with the full “Poor Things” treatment, I think we can all agree that it’s Willem Dafoe’s Frankenstein-adjacent facial horrors that takes the cake here.
The tag team of Nadia Stacey, Mark Coulier and Josh Weston are responsible for these horrors.
Parker’s Pick: Poor Things
Just look at Willem Dafoe.
// International Film
2R’s Pick: Zone of Interest
It takes a lot of guts to pull off something like this. Not just in a storytelling sense, but in the fashion in which the film was crafted. The pacing antithesis of Oppenheimer, Zone of Interest is slow and droning. But it’s done intentionally in a way that forces the viewers to stew in the horror of what they’re seeing – or rather – not seeing.
It takes someone completely confident in their craft to make something like this.
While the sound is the standout feature here, I’ll be talking more about that in that category (spoilers!!!)
The shot composition of this movie also stood out to me. We can likely thank cinematographer Lukasz Zal for that. I think just about any frame in this film would be a worthy selection for a potential Zone of Interest artbook.
Parker’s Pick: The Zone of Interest
The Zone of Interest is full of dread and leads you to think about it for days, weeks, or even months after you’ve seen it. There have been countless films that have showcased the banality of evil in the past, but never have I seen it done the way this film does. The film’s choice of not showing us the horrors of Auschwitz, but rather, only being able to hear them was brilliant.
// Visual Effects
2R’s Pick: Godzilla Minus One
If you can believe it, the real Godzilla was double-booked and could make it to set, so they had to use special effects to bring the original Kaiju to life.
I’ll admit, it was a very close race between this and the creator for best VFX, but what gives G-1 the W is just how impressive the big guy looked – and felt – on such a small budget.
I don’t just mean the fancy CGI lizard either, but the volume of quality effects throughout the movie.
If you like the movie, check out this piece written by NotAnAccountant about it!
NAA’s Pick: Godzilla Minus One
The amount of CGI in this film that you don’t catch is as impressive as what you do catch. On a shoestring budget for movies of this type, they managed to sear a nuclear blast sized imagery in your mind of the amazing scene in Tokyo or the destruction on the island or even Godzilla chasing the boat underwater. That’s putting aside the climactic scene.
The impact this movie had with the limited resources at their disposal is what makes it an easy pick for me.
Parker’s Pick: The Creator
I liked The Creator more than most. The film is not perfect, and has many faults, but the one thing I thought it absolutely excelled in was its visual effects. The work ILM did on the effects in this film was outstanding. The fact that they were able to create a world that felt so tangible, unique, and lived-in for the budget they were given is outstanding to me. The way ILM approached the creation of the effects of the robots was so incredibly innovative that I can’t help but wonder what kind of impact The Creator will have in the world of VFX for years to come.
// Production Design
2R’s Pick: Poor Things
All year, I was sure that Barbie was a lock for this category. That was, until I watched Poor Things about a week before the Oscars.
And, honestly, I was sold when I saw the brothel with windows shaped like dicks.
But that’s not to say that the dickless sets weren’t incredible as well, because they were. Clearly an immense amount of creativity went into the eccentric buildings and fantastical interiors. Ever inch of this production feels meticulously cared for.
The team responsible for this is James Price and Shona Heath on Production Design, and Zsuzsa Mihalek for Set Decoration.
Parker’s Pick: Barbie
The world of Barbie was so joyous and fun, and inventive in many ways. If anything, I’d love for Barbie to win only for their use of miniatures — something that feels like a lost art in Hollywood.
// Sound
2R’s Pick: Zone of Interest
As mentioned in the previous section, this movie is as much about what you don’t see as what you do. In a movie that’s central premise is hiding the horrors of the holocaust just out of sight, the movie must lean on implied horrors to give you chills.
Part of what makes this so effective is the masterful sound design. It’s chilling and oppressive, and it absolutely will freak you out when you hear it. From the screams of what’s going on just beyond the wall of the Nazi’s nice little backyard garden, to the abstract blasts of pure dread, this film deserves to win.
Parker’s Pick: The Zone of Interest
Considering that The Zone of Interest relies so heavily on the auditory element of film, as opposed to the visual, the work the sound team did on this film is nothing short of spectacular. The sound design is so dreadfully immersive, like faintly hearing the horrors of Auschwitz in the distance, that I couldn’t help but feel tense the entire time in my seat.
// Original Score
2R’s Pick: Oppenheimer
Ludwig Goransson knocked this one out of the park. Of all the nominees, this is the film that I noticed did the best job of guiding the viewer through the scenes, and imparting the emotional undertones of what’s going on.
I’m about the furthest thing from a musician, so I won’t attempt to explain – and butcher – the more technical details of the score. However, I will tell you that it sounds fantastic both in the film and while listening to it on its own.
NAA’s Pick: Oppenheimer
To impart the existentialism of this movie in just the music alone would have made this my pick, but the whole film lets the music guide you through it whether in the quieter moments or in the wake of a nuclear explosion. Ludwig Goransson has been doing a fantastic job for years now and is fully deserving of taking the mantle of Hans Zimmer as Nolan’s collaborator.
Parker’s Pick: Oppenheimer
Ludwig Göransson is slowly becoming one of my favourite working composers today. His ability to mix the classical/orchestral elements with more experimental ones works wonders in Oppenheimer. The score is hauntingly beautiful, and is filled with undertones of existential dread from beginning to end. Frankly, Göransson would win for “Can You Hear the Music” alone.
// Original Song
2R’s Pick: I’m Just Ken
Come on, how can you not love it?
NAA’s Pick: I’m Just Ken
Come on, how can you not love it?
Parker’s Pick: I’m Just Ken
Come on, how can you not love it?
Lady Feather’s Pick: “What Was I Made For” from Barbie or “I’m Just Ken” from Barbie
Yeah I’m going the picking two route because I could see either of them winning it. Both have an edge for winning best song – “What Was I Made For” winning at the Golden Globes and “I’m Just Ken” for winning at the Critics’ Choice Awards. Billy Eilish and Finneas have also already won an Oscar before for “No Time to Die”, which does give them a bit more of an advantage, but “I’m Just Ken” is also quite popular, and could win it because of that. Especially with Ryan Gosling now performing it at the Oscars.
// Animated Film
2R’s Pick: The Boy and the Heron
A masterpiece from the master. This film deserved to be on the overall Best Pictures list, but until the world stops viewing animation as a lesser medium, we’ll have to settle for this.
I’ve written a lot more in depth about this film here, but suffice to say, I really like it.
NAA’s Pick: Spider-Man: Across the Spider-Verse
I think every movie in this category is very deserving of a win, but the innovative art-style juxtaposed with complex themes for the various characters in the movie really work for me. It manages to combine emotion, action, comedy, and still remains coherent when throwing everything at the wall. That alone to me is just an unparalleled act.
Parker’s Pick: Spider-Man: Across the Spider-Verse
All of these movies in this category this year are excellent, and all showcase animation as a medium, not a genre, brilliantly. But I loved Across the Spider-Verse on a completely different level. The film is innovative in nearly every regard. I love how unashamedly maximalist it is, and yet, the heartfelt & personal story beats weren’t drowned out. That alone is an incredible cinematic feat.
Lady Feather’s:
Who is Favourited to Win: Spider-Man: Across the Spider-Verse or The Boy and The Heron
I think either of these are likely to win. Spider-Man: Into the Spider-Verse won the Oscar in 2019 and I know the Academy likes to play it safe. Additionally, the movie itself is just great. The cliffhanger did kind of suck, I’ll be honest, but the art style continues to amaze me, with its continued use of 2D/3D.
The Boy and The Heron could also take it as it won best animated at the Golden Globes. While this isn’t always an indicator of who will win, it has been in the past. And again, just like with Across the Spider-Verse, it absolutely deserves to win. I personally only the Japanese version so I can’t speak to the voice acting of the English (I’ve only seen bits and pieces), but the Japanese voice actors were so, so good, especially Masaki Suda as the Heron. It would also be different for once as the animated category tends to be a bit predictable in who will win at times. It would also be the second time a Miyazaki film has won an Oscar (Spirited Away was the first film to win, there have been other nominations since but no other wins).
Who Should Win: Nimona
I really would love for Nimona to win. This was my animated film of the year last year, beating Spider-Man: Across the Spider-Verse. The film that was nearly never to be became and boy did it deliver. I’m so happy it didn’t die with Disney acquiring and shuttering Blue Sky Studios, and that Annapurna picked it up. This was a necessary film, especially considering the state of the world regarding trans rights, gender identity and sexuality. The animation style was great, the character’s insanely expressive, especially Nimona. The story as well was really good, and the last 30 minutes of the movie had me in tears. Even if it doesn’t win, you should watch this movie. You will not regret it.
// Writing (Adapted Screenplay)
2R’s Pick: Poor Things
Based on the 1992 novel by Alasdair Gray titled Poor Things: Episodes from the Early Life of Archibald McCandless M.D. Scottish Public Health Officer, this movie is more relevant today than ever. It’s clever, funny, and meaningful, and shines a light on the prejudices we still cling to as a society even in the year 2024.
Barbie walked so this movie could run.
NAA’s Pick: Poor Things
Unafraid and actually pushed modern bounds of feminism rather than peddling rote messaging.
Parker’s Pick: Oppenheimer
I thought the way Christopher Nolan approached a biopic to be incredibly innovative and, really, a breath of fresh air. In a world where every biography film follows the exact same formula, I thought the way Nolan approached Oppenheimer to be incredibly inspired. But also, who else has ever written a screenplay in first person?
// Writing (Original Screenplay)
2R’s Pick: Past Lives
This beautiful piece of cinema is propelled first and foremost by its characters and how believable they are. It’s an incredibly real and compelling story that is, in my opinion, flawless.
While the performances by Gretta Lee and Teo Yoo hit it out of the park, it’s all built off the back of a masterclass in writing. This is an astounding directorial debut by Celine Song (who also wrote the movie) and I certainly cannot wait to see what she does next.
NAA’s Pick: Anatomy of a Fall
I think the creativity of the writing of the film is the only thing that makes this movie compelling in any way. I don’t think the film is particularly driven by its other aspects. The only thing that keeps you hooked is wanting to see what unfolds and at the end of the movie, you look back enjoying the journey you went on despite the very small scope of the film.
Parker’s Pick: Past Lives
Past Lives was one of my favourite films of the last year. Of course, it’s partially due to the performances from Greta Lee and Teo Yoo, but Celine Song’s script is a masterclass in writing. The characters feel real. The film is incredibly sentimental and you can tell that Song has written this film from a place of experience. Not to mention this being her debut film — if this is her first, I can’t imagine what we’ll get from Celine Song next.
