How about those Oscar Nominated Films?

Normally I only publish my reviews at the end of the year, but I thought it might be fun this year to pre-publish my reviews of this year’s Oscar nominated films (a few of which I saw in 2025 and reviewed in a previous post but reposted here), but the majority I’ve seen in the beginning of 2026 and not yet published) I haven’t seen all of the nominated films yet - but I did see 8 of the 10 best picture nominees so that’s not too bad. I expect to see the other 2 in the weeks ahead.

No — this isn’t a prediction list of who will win in each category. The winners of oscars are often not the best films or actors in their category. Oscar winners are based on a number of factors other than the quality of the film. Factors include:

• Is an actor or director “due” for recognition

• Campaigning — every bit as much work and money goes into campaigning for Oscar votes as in any election.

• Cultural Mood — does the topic of a film touch a cultural touchstone? Sinners, for example, is highly nominated this year, in part, because films about African Americans have been so neglected in the past. It gets extra points in Oscar consideration because a film like this is overdue for Oscar-love.

• Has the actor or director become a darling or an outcast because of recent behavior and/or things they’ve said. Timothee Chalamet effectively shot himself in the foot through his recent comments about ballet and opera being irrelevant. The backlash most certainly has hurt his Oscar chances.

So — no predictions here — but rather, my personal takes on any of the films that I’ve seen and have received nominations. You’ll see I didn’t cotton much to Sinners or Hamnet despite their wide-acclaim. And I was flat-out bored by some of the nominated films. But gave 3.5 stars to some films that got less Oscar love. For what it’s worth - here are my reviews of the ones I’ve seen so far (listed by the number of nominations they received):

*** Sinners - 16 Nominations - Best Picture, Director, Actor, Supporting Actor, Supporting Actress, Original Screenplay, Cinematography, Editing, Production Design, Costume Design, Makeup, Sound, Visual Effects, Casting, Score, Song

Ryan Coogler swings for the fences but ends up with a ground ball double in this ambitious, yet somewhat disconnected genre mashup of racial inequity and vampire horror. The first hour or so establishes the arrival of twin brothers Smoke and Stack who arrive flush with money from their Chicago work with Al Capone with the intent of setting up the ultimate juke joint in their home town in the Jim Crow south. They round up local talent to staff their joint, including a cousin who is an authentic blues man in the manner of Robert Johnson (who as we know, sold his soul to the devil to learn the blues). His blues seems to attract the attention of some Irish folk musicians who covet his songs, and turn out to be vampires. In the second half of the film, we get gore, action, dread and violence that is akin to George Romero and Dawn of the Dead. The action stuff is shot with kinetic energy and blood aplenty - its no holds bar horror stuff and brings much needed energy to a film that had been proceeding quietly (and sometimes tenderly).

Ultimately its hard to know whether the film is about these brothers, or their bluesman cousin, or the fact that the devil and violence is the only way blacks in the South can survive the racism of bigoted whites, but it doesn’t quite tie together as tightly as I expect was intended. The fact that the movie has 2 or 3 endings reinforces the fact it doesn’t quite know what it about. Nonetheless, for horror fans, the second half certainly delivers, and its synthesis of race issues to western gothic is a fresh mix. Personal note: I’m certainly rooting for Delroy Lindo to win an Oscar here, as he’s one of the finest actors I’ve ever had the pleasure of directing. What a talent!

*** ½ One Battle After Another -13 Nominations - Best Picture, Director, Actor, Actress, Supporting Actor (2), Supporting Actress, Adapted Screenplay, Cinematography, Editing, Score, Production Design, Sound, Casting

This was a tough movie to get a handle on coming in cold with no way of knowing what it was about. It’s only after seeing it, and some reflection, that I am able to grasp the scope of this epic, genre-defying film. I guess I should expect no less from Paul Thomas Anderson, who is back in mouth-dropping form that harkens back to his days with terrific films like Boogie Nights, Magnolia, and There Will Be Blood. This is that rare film that is probably best appreciated on a second viewing. I may choose to watch this one again now that it’s streaming. (But as I say, I rarely see a movie twice, preferring to see something I haven’t already seen).

This lengthy film is an electrifying overload of action thriller set in a not completely unfamiliar world where people of color are held in concentration-camp like detention centers, and rebel forces fight the powers that be that are part of a white-supremacy movement. But it’s also a meditation on the disparate pulls of revolutionary justice versus parenting. And did I mention it’s a snarky comedy as well? It’s a lot of characters to keep track of and it positions revolution and violence hand in hand with sexual thrill. Leonardo Di Caprio is at the center of the film as a rebel turned parent turned stoner who is drawn back into the fight out of desperation.

I Was lucky enough to see this one in 70mm, where the sheer scope of the movie is at times overwhelming. I personally found Jonny Greenwood’s extremely edgy score almost a character in the film, though I found it often drowned out the dialog making it difficult in the first Act to know what the heck was going on. Sean Penn is almost unrecognizable as the ruthless Col. Lockjaw, but does the remarkable job of avoiding caricature in this role of a relentless officer in charge of stopping the rebels and hunting down his adversaries.

There’s a number of exciting set pieces, not least of which is a 3-car chase in the roller-coaster-like roads in the desert, and its never clear where all the action is going to end. Overall it’s a comically hellish look into a future that feels like it’s nearly here.

** ½ Frankenstein - 9 Nominations - Best Picture, Supporting Actor, Adapted Screenplay, Cinematography, Costume Design, Score, Makeup, Production Design, Sound.

Guillermo Del Toro’s reimagining of the classic Frankenstein story is melodramatic and overlong. Granted, it’s beautifully costumed and designed, but for a story we mostly know, it felt very long and dramatically heavy-handed. This telling asks us to feel deeply for the creature - unable to die and cursed to be alone. At 2 and a half hours it just never developed any sort of suspense or surprise, as it dragged to a somewhat inevitable conclusion of sadness. I found myself looking at my watch again and again wondering when it would finally end. I recognize the craft with which it was made - but can’t help ask myself - did we really need the story of Frankenstein and his creature again? For all the psychological underpinnings that are suggested here, Victor’s hubris in creating life, his lack of compassion for his creature, ultimately we don’t really see an arc to his character development. It’s just a sad, tragic tale, with no lesson learned. It is rich in metaphor from Paradise Lost and of course, Mary Shelly’s original novel - but despite Del Toro’s attempt to embue this with the philosophy of life and death - I just found it too plodding to engage me.!

** ½ -Hamnet - 7 Nominations - Best Picture, Director, Actress, Adapted Screenplay, Casting, Costume Design, Score

Let me say from the onset that this wasn’t my cup of tea. Despite all its acclaim, I’m not about to jump on board. Why is it so highly regarded you may ask? My theory is this: there are many people who regard anything by or about Shakespeare to be fascinating to them. Even a fictional account of the private life of Shakespeare and his family, allows that audience to feel closer to this thing that they revere. Even Shakespeare’s lesser plays are produced at countless Shakespeare Festivals around the world, because after all, they were written by Shakespeare.

Now, I’m not saying they’re wrong. They are absolutely entitled to enjoy everything they like about Shakespeare. I’m just not one of them. I certainly appreciate many of Shakespeare’s plays — have studied all of them, acted in a few of ‘em, and see many of them. There is true brilliance in his writing. However, that doesn’t mean I care about the man himself, his personal life, a peek behind the curtains of the man. Especially one like this in which much of what transpires is speculative Shakespeare fan-fiction. For this reason, I didn’t like the similarly oscar-lauded film « Shakespeare in Love » Furthermore, films about grief (and there is a lot of grieving here) are not my thing. That said, let me tell you my problems with this movie. (Spoilers abound from here — so please, please, read no further if you plan to see this film).

One: The first act is like a bodice-ripper romance novel. Two strangers meet and immediately they are in most lustful love. Entirely physical. She doesn’t even know he’s a writer.

Two: The movie next doles our the agonies of life in the Elizabethan age. Painful, difficult childbirths, sickness, death and resentment. Shakespeare meanwhile goes to London to seek his fortune, we assume, as a playwright. How or why he developed the ability to write in verse, build a career, etc is largely neglected.

Three: We are led to believe that Hamnet saved the life of his sister by having her breathe his life force and he breathed in hers. He was ‘brave’ and gave his life for hers. A very romantic conceit. Act II - a lot of heartbreak and grief. Anger and resentment too, as Will doesn’t come home in time to see his son before he dies.

Four: Somehow we’re led to believe that his wife, coming to London finally to see his latest show (what? She hasn’t seen any before this?) doesn’t even notice its called Hamlet (opening preface tells us Hamnet and Hamlet are used interchangeably) but she doesn’t notice the name of the show until its first spoken on stage, despite having the playbill in her hand. BUT, once the play begins, her anger at her husband, her sorrow over her dead son, begins to melt away as she sees the play unfold. Somehow the author here, expects us to believe that Hamlet, Prince of Denmark who goes mad trying to avenge his father’s most-foul death, is just a stand-in for his dead son. His wife, (played by Jesse Buckley, in a strong performance full of Oscar-winning angst), is deeply moved and in awe, and even reaches out to touch the dying Hamlet on stage. Wondrously, the entire audience at the Globe theatre reaches to touch dead Hamlet on stage, and everyone is hushed, dumbstruck by the power of the death that no one stirs, no one applauds, but all reach out in solidarity. I’m afraid this was just too much for me. I’ve never seen an audience shocked into silence like this. (Side note: at the pace the couple of scenes from Hamlet were performed in the movie, this Hamlet would have lasted 9 hours — it’s a long long play in any case, but these scenes were played at a glacial pace for dramatic effect, to convince us that they mean more than they seem for Will and his wife.

I’m sure that Shakespeare buffs and those who like the deep melodrama of grieving and heartbreak will find much to move them here. Oh the pain! Oh the cost of genius! But, speaking for myself, I found the film long and ponderous, no matter how beautifully it was photographed. I can respect this movie, but I did not enjoy it.

*** ½ - Bugonia - 4 Nominations - Best Picture, Actress, Adapted Screenplay, Original Score

Emma Stone continues her collaboration as lead actress and muse for Yorgos Lanthimo, a filmmaker whose work always challenges the intellect and one’s emotions. This one is more straightforward than most of his work - an arresting thriller in which two deranged conspiracy theorists kidnap a powerful female CEO. believing her to be an alien intent on destroying the earth. Emma Stone is solid, strong and intelligent as she brings her corporate leadership and negotiating skills to bear while trying to reason with her deranged captors. The standout performance here though is a wired, manic Jesse Plemons in his most intense performance to date. The screenplay is terrific and the soundtrack foreboding and startling, the filmmaking intense. Totally gripping in the cat and mouse interplay between captive and captor.

*** F1 - 4 Nominations - Best picture, Film Editing, Sound, Visual Effects

Ok… read no further if you don’t want spoilers, but….

Unconventional, arrogant, risk-taking, yet charming driver played by Brad Pitt? Check. Rival much younger team mate - also arrogant and threatened? Check. Team owner willing to hire Brad Pitt to hopefully save his team’s season despite everyone’s skepticism. Check. Corporate interests trying to sabotage team for their own gain? Check. Attractive female team lead designer who would never ever get involved with one of her drivers but does in fact wind up sleeping with him. Check. Check. Despite impossible odds, Brad Pitt wins the race. (Well, I won’t spoil it for you, but uh, check). There’s a reason the film’s title is Formula 1. There does seem to be a formula at work in the screenplay here.

OK, that aside, Pitt is indeed charming, you can’t hope for rooting that it will all work out and the evil corporate guy will be foiled (and yes, check again). But the racing sequences are very exciting — It’s big screen video game stuff with a pounding rock / synth soundtrack (heck - it even starts with Led Zeppelin,) and it’s simply impossible not to be drawn into the excitement and the thrills of Grand Prix racing writ large. Good popcorn munching stuff!

*** ½ Train Dreams - 4 Nominations - Best Picture, Adapted Screenplay, Cinematography, Original Song

a quiet meditation on the connections people make and lose through life, told in the setting of the beautiful Pacific Northwest in the early 20th century as railroads begin to connect the country. It’s a remarkably quiet film, with almost painterly cinematography. Anchored by a strong and restrained performance by Joel Edgerton as a logger and touching performances by Felicity Jones and William H. Macy among others. The film requires a certain patience - a patience that is rewarded by the sheer humanity of the film. It’s a touching and beautiful piece, reminiscent of the work of Terrence Malick and films like “Days of Heaven” where the milieu is more important than the plot - the likes of which we rarely see in films any more. Beautiful to watch and emotionally affecting.

** ½ The Secret Agent - 4 Nominations - Best Picture, Actor, International Feature, Casting

Maybe if I knew more about Brazil’s 70s-era military dictatorship I’d have been better prepared to appreciate The Secret Agent. It’s about a man trying to keep a low profile amidst the danger, uncertainty and paranoia of a corrupt country. Exactly what he is hiding from isn’t immediately clear, and even when he learns he’s been put on a hit list we’re not certain what he’s on the run from. He wants to escape with his son, who is living with his late-wife’s parents, and flee the country.

The movie, which jumps freely across the past, the late 70s when most of the action is set, and a young woman who is researching his story (set in the present), is difficult to follow. It has a large and interesting cast, but its hard to keep them all straight. Who is an ally and who is an enemy is often blurred. There are a lot of dead bodies, the first of which, lying in a gas station under a piece of cardboard, are of no interest to the police who are more interested in getting a bribe. There is also a disembodied leg, found in the body of a shark, that later becomes a media sensation when it allegedly attacks cruising gays in a park. There is a strange Spanish surrealism that crops up unexpectedly in the movie. This film has attracted a lot of critical acclaim and 4 oscar nominations, but I just found it too hard to follow.

*** Blue Moon - 2 Nominations - Actor, Original Screenplay

Director Richard Linklater and actor Ethan Hawke have a long collaboration history of films that are made up of a lot of talking: Before Sunrise, Before Sunset, Before Midnight, Waking Life, Boyhood), and once again the pair of teamed up for a movie that is largely a monologue and above all else a character study. Hawke is nearly unrecognizable in his embodiment of witty, egotistical, alcoholic, ambisexual and legendary Lorenz Hart, who wrote the lyrics for an amazing string of classic American songs from Broadway musicals that are now, despite the terrific songs, largely forgotten.

The movie takes place on the opening night of transformative musical, Oklahoma!, the first musical Richard Roger’s wrote with Oscar Hammerstein II, instead of with Hart. The fact that Oklahoma is a smash hit with both critics and audiences marks a turning point in American Musical Theatre and is the death knell for the likes of Hart. Hart - whose lyrics were funny inventive and satirical, is not at all impressed with the uplifting, romantic, sentimental lyrics of Roger’s new lyricist Hammerstein. Nonetheless, he must pretend to be gracious at the opening night party in a bar he frequents regularly.

It’s a sad portrait of an artist in decline, and a man in an unrequited love relationship with a young, bright college student, Elizabeth, with whom he shares an unusual friendship. His own uncertainty about his own sexuality further raises the complexity of his entertaining and off-putting personality. It’s a real tour-de-force performance by Hawke in a movie that might be more successful as a stage play, but still a vivid look at the backstage life of artists in a changing theatrical landscape.

*** K-pop Demon Hunters - 2 Nominations - Animated Feature, Original Song

I’m certainly not the audience for this particular film, but a phenomena is a phenomena and I felt I should give it a look. It’s probably the favorite in the best animated feature oscar race for the year. I can certainly see its appeal to a young audience, perhaps because it has a very contemporary style not usually seen in animated films. Even though its digital animation, the look and feel is very much like Manga which would be familiar to a teen/pre-teen audience, and the songs are all high-gloss, auto-tuned K-pop, so different than the sort of ballads seen in Disney films. There’s no question the music is catchy - and on Netflix there is even a sing-along version of the film. These ‘sing-along’ versions of musical films these days are a clever way to encourage multiple viewings - a great marketing concept to boost the all-important box office. The singing is very well done, the three female leads are nicely distinct in their personalities, and the good vs evil theme is universal.

***½ The Lost Bus - 1 Nomination - Visual Effects

Director/co-writer Paul Greengrass has a knack for creating gripping disaster movies based on real life disasters, and the tragedy of the Paradise Fire is gripping material. His signature shaky-cam style gives his films a strong sense of documentary veritas, and the special effects in this film are truly remarkable. Here he humanizes the disaster by focusing on the plight of a hapless bus driver, played with a surprising heartfelt performance by Matthew McConaughey, a schoolteacher played by America Ferrera, and a bus filled with terrified school children. This storyline brings the tragedy to a personal level, but i was more impressed by the characters of the fire chief and his staff, as they strategize fighting the hopeless battle. The film succeeds in keeping up a high level of suspense and the realities of out of control nature are truly frightening to behold. I could have done without the ending scene, but overall I found this gripping and compelling. Especially knowing this, and other fires like it, are grim realities.

*** Weapons - 1 Nomination - Supporting Actress

Zach Gregger delivers a fascinatingly crafted horror movie wrapped in a mystery: Why did all the children in Miss Gandy’s elementary school class (save one), vanish overnight. In fact, it turns out they all ran out of their houses at the same time during the night, with their arms at their sides in a V-shape, like little flying airplanes, and were not seen again. The question is: why? and what happened to them?

The shock and grief of an entire community has echoes of school shootings, and the heartbroken community turns against the teacher, who they figure must have caused this to happen. Julia Garner turns in a rich, multi-layered performance as the teacher in question, and Josh Brolin is an especially aggrieved parent who is obsessed with getting to the bottom of things. The strange standout here is Amy Madigan with a weirdly eery performance as a distant relative come to visit.

What’s effective here is Gregger’s construction of the story line. The film is divided into chapters, each focusing on a different character’s point of view in a web of related events. Scenes are replayed as we move back in time to see more of the story from a different perspective. The different people have a variety of relationships to one another.

The film has jump scares throughout, but it’s mostly a slow burn suspense and feeling of dread. Perhaps too grisly for those who don’t like horror movies, but not scary enough for hard-core horror fans, but I found it a nice balance I haven’t seen in a horror film in ages. A smart, satisfying, intriguing screenplay with interesting camera work throughout.

*** The Smashing Machine - 1 Nomination - Makeup

Hollywood has a long history of boxing pictures — Raging Bulls and Rockys — but this is, as far as I know, the first picture about the early days of Mixed Martial Arts. I confess, I don’t know much about the sport, other than the fact its become a phenomena and commands big bucks.

Here, we see Duane Johnson (aka “The Rock”), the pro wrestler turned appealing and likable actor, digging deep to prove his acting bonafides. And Johnson delivers on all accounts here. He is unrecognizable in some of the most convincing facial makeup I’ve seen (which has earned an Academy Award nomination for makeup artist Kazu Hiro) which literally changes the shape of his head and facial features. And this makeup must survive some of the most brutal man to man fighting that goes on throughout the many bouts in this picture. The picture is skillfully directed by Benny Safdie (one half of the Safdie brothers, who had a critical hit with “Uncut Gems” and you really feel the brutality of this form of fighting. The soundtrack for the film is particularly interesting in its choice to use percussion and discordant chords to ratchet up the brutality and fierceness of the fights.

Ultimately, its not clear what one should take away from the movie, other than its perhaps a touch of nostalgia for the birth of MMA as a sport. While here and there we get Rocky-like montages of training, for the most part it doesn’t have an arc that provides the portrait of heroic perseverance. But its worth seeing if only for the transforming performance of Johnson, and the equally compelling performance of Emily Blunt as his embattled and volatile girlfriend. Not recommended for the squeamish though - this form of fighting is brutal!

**½ If I had Legs I’d Kick You - 1 nomination - Actress

Mary Bronstein’s disquieting film shows us a woman on the edge of a nervous breakdown as everything around her pushes her to the edge, not least of which is her barely seen daughter, who we only hear, and who is afflicted with a mysterious disease that requires round the clock care from her mother. Rose Byrne gives a knifes-edge performance as a woman seething with anger and resentment and inability to cope. She is surrounded by her unsympathetic therapist and medical advisor, rude store clerks and parking attendants, and within the first 5 minutes of the film, an on rush of water that floods her apartment and bursts an enormous hole in her ceiling. This hole, a gateway to the unknown, often pulses and draws her in, and at these times the film veers into David Lynch adjacent territory.

The film is quite alienating, as the only mildly sympathetic character is the black hotel manager, played by A$AP Rocky, who tries to befriend her — or is he just looking for someone who can front him the money to buy some drugs? Even the casting is rather unlikely and oddball: Conan O’Brien is cast as her glum, unhelpful, therapist, and director Mary Bronstein plays her cold medical liaison. An unrecognizable Christian Slater plays her unhelpful and blaming husband (though he’s mostly heard over the phone).

This is an unsettling film, that alienates you from sympathizing with woman who are unhappy with having motherhood thrust on them - and instead just keeps you on edge trying to understand where it might go. Echoes of Lynch’s Eraserhead lurk into the corners, especially when another mother abandons her crying baby with this angry, unsettled woman, who herself happens to be a therapist - hard as that is to believe giving her state of mind. Rose Byrne received an Oscar Nomination, and won the best performer Indy Spirit Award for her tightrope performance.

** ½ Song Sung Blue - 1 Nomination - Actress

Hey Neil Diamond fans — here’s a chance to hear your favorite Neil Diamond songs sung by two actors impersonating a Neil Diamond tribute band in a rather melodramatic, and sappy Lifetime-type movie. Hugh Jackman, sporting one of the worst hair styles seen in ages, and Kate Hudson, playing an aging blonde Mom, while sporting a very credible and fun Wisconsin accent — are sad sacks you can’t help but root for - as they do a credible job bringing new life and two part arrangements of Neil Diamond classics. In the course of the film they will meet cute, create a blended family, and chase their performing dreams while meeting obstacles that would burden a biblical Job. The film tries to have it both ways — making a bit of fun of their talent and aspirations in the early going — and then maneuvering us into embracing them as their dreams and hopes are meant to become ours. Who wouldn’t root for a happy ending here. Based on a true love story (as we’re told as the film opens), and indeed there was a real Milwaukee-based Neil Diamond tribute act called Lightning and Thunder. But how much of the ramped up drama is true is anyone’s guess. If you like Neil Diamonds songs (and I do!), then you’ll still find some satisfaction in watching this rather contrived tear-jerking feel-good movie root for the underdogs movie.

** ½ Elio - 1 Nomination - Animated Film

Something has happened to Pixar as it gets more and more embedded in the Disney brand. This latest Pixar film has earned a nomination for best animated feature, and as always, the level of animation is always impressive - BUT, the storyline here is a disappointment. Early Pixar features marvelously tread the fine ground between working for kids and yet still be interesting and emotionally rewarding for adults. But here we have what is most definitely a kids picture. Mind you, it’s a cute space picture, with a boy hero who ventures into outer space to save the universe as he struggles with having lost his parents and whether or not he will forge new bonds with his adoptive Aunt. But this is a more schmaltzy sentiment, and not the honestly earned sentiment of early Pixar. I’m sure there are kids who will enjoy streaming this on the Disney+ service, but I doubt their parents will be watching it with them.