The 2025 awards season needs to end. I think I speak for everyone when I say that this has been one of the most exhausting Oscar races in recent years, and the moment the ceremony finishes, we’ll be glad to not have to think about the films of 2024 for a long while. As is tradition, I watched all ten of the Best Picture nominees. There’s certainly something to say about each film, so I’ve decided to rank them from worst to best ahead of the Oscars broadcast this weekend. Disclaimer, of course, these are my opinions, and I’m sure you won’t agree with some of these placements—but instead of getting ahead of myself, let’s jump right in:

10. Emilia Pérez

There’s really nothing left to be said about this film. It’s a shame that we even have to discuss it at all. As a musical, it’s bad. As a crime film, it’s bad. As a film about redemption, it’s bad. As a film about gender identity, it’s bad. As a film about Mexican identity, it’s bad. It can’t even be described as camp. Emilia Pérez’s worst crime is that it’s simply boring. And for its transgressions against us it should be given a life sentence.

9. The Substance

Style over substance. Certainly some of the best costume design I’ve seen out of the nominees. Very memorable outfits, and some great production design. But that 141 minute runtime could’ve been condensed into a short film and have the same, or frankly better, effect. I’m not going to give you props for introducing important themes and have nothing to say about it after the first half hour. The maximalist body horror that is intended to shock and excite, unfortunately for me, became a drag; dull and unmoving. My biggest disappointment this year.

8. I’m Still Here

It’s hard to justify putting a film so clearly well made, with solid performances, filmmaking and storytelling, so low, but I unfortunately found myself only slightly moved by I’m Still Here, quickly continuing on with my life after the credits began. If anything while watching I realized that I don’t know nearly enough about Brazil’s history or culture, but the film didn’t intrigue me enough to go on my usual Wikipedia deep dives. A pretty cut and dry drama, but I’d like to see Fernanda Torres snag Best Actress — that would make for a wonderful moment.

7. Anora

Anora’s Oscar journey has been a bit wild. Very early in the season it was a favorite to win, then it faded into the background after winning nothing at the Golden Globes, then it became a near-lock for Best Picture after it won DGA, WGA, and PGA all in one week. The streets (Twitter) want me to hate this movie, but I can't deny it’s the most I’ve laughed while watching a movie all year. Truly 2024’s best comedy. A win for screenplay would potentially irk me: the movie shines the most when Ani and the Russian goons frantically run around NYC doing improv, which is basically the entire middle chunk. But while that’s fun, it’s also a problem. We needed more Ani. It should be her movie. But instead we get one too many pans to Yura Borisov’s character looking at her, as if his sympathy and kindness outweighs her emotion and agency. I can’t like it any less, nor can I dislike it any more—if it wins the top prize, though, a distaste for it may form.

6. A Complete Unknown

This movie is less about Bob Dylan as a person and more about the influence he had on the music of his era, and how it affected the people who loved him. So while it doesn’t feel very fresh or new, it’s very watchable, and you can mostly relax and kick back as the stars play some tunes. The actors really glow here (Monica Barbaro!), although Chalamet’s neurodivergent speaking voice isn’t my favorite choice. Overall I don’t see myself rewatching it, but I’ve gone ahead and saved some Bob Dylan songs to my Apple Music library, and that’s the highest praise you can really give to a movie like this.

5. Wicked

I don’t trust people who don’t like musicals. I find such people joyless, pitiable, and a little wretched. Especially in the case of Wicked, where the songs are so good and catchy—well, not all of them, but most, especially in this first half of the story. Granted, the musical numbers here aren’t executed perfectly (Chu’s comfort zone is a medium shot, it seems) and the lighting is uninspired and egregious. Much like with A Complete Unknown, the juice here is in the performances. Wicked was a cultural moment, and the cherry on top was that the movie was actually good, something both the general public and I could finally see eye to eye on. I’m a bit worried about the sequel, but I’d happily attend a girl’s night to see this film again!

4. Conclave

I can’t remember where I heard it, but someone described Conclave as having the plot of an airport novel, and I wholeheartedly agree. That’s what makes it so great. These sad old divas and their petty pope politics, mixed with beautiful production and costume design, makes for a delightfully engaging picture. Anything that has to do with personal faith and struggle, I’ll automatically have a soft spot for. Watching the fanbase for this film unfold online has only endeared it to me more. Another great choice for a girl’s night film, in my opinion!

3. The Brutalist

The opening shot of The Brutalist replays in my mind very often: Felicity Jones’ narration, Adrien Brody grabbing his companion in pure joy, the reveal of the Statue of Liberty, and that score. The cinematography is striking and gorgeous, at times reminiscent of a painting. Lazlo is a beautifully written character, a man who onlys knows how to express his agony through his work. Like many, I prefer the pre-intermission section of the film; the end of the second half goes in a direction I couldn’t fully get on board with. But I’m of the opinion that the film isn’t Zionist—it’s very explicitly about the pressure to assimilate, to find a place to belong, and that does nothing to the characters but further exasperate them. If the American dream is proven to be fraudulent and dangerous, why would the film argue that the Israeli dream is any different?

2. Dune: Part Two

As someone who isn’t into sci-fi and found the first Dune to be a snoozefest, I didn’t go into Part Two with much enthusiasm. But my gosh have I converted to Duneism since. An exhilarating experience I wish I had seen in cinemas! The world of the Fremen is unlike anything I’ve ever seen and everything about the Harkonnens genuinely unsettled me. Next Halloween I’m forcing my friends to dress as the Bene Gesserit. Each scene was more exciting than the next, and by the end I was nearly on my feet, yelling at the characters like I was actually there. When Messiah comes out I suggest you give me a few seats to myself in the theater.

1. Nickel Boys

Words can’t explain the visceral reaction I had to Nickel Boys, although the photo of my red eyes and tear-streaked face I sent to my friends after the credits rolled might. A boy’s reflection in a clothing iron, the playful and loving gaze of his grandmother, Christmas tinsel falling on his head as the two laugh together. Within the first ten minutes I was experiencing emotions no film had given me in a long time. Though a deeply traumatic tale, RaMell Ross never prolongs an arduous or gruelling scene. His instinct is to care for the characters, for Elwood and Turner, how they see each other, how they are ultimately one in the same. Really, his care is in every single frame. When pitted against the rest of the nominees, there’s truly no contest: Nickel Boys is one of the best of the decade.

The 2025 Best Picture Nominees, Ranked