The 95th Academy Awards: Best Picture Nominees

Based on Erich Maria Remarque’s 1929 novel of the same name, All Quiet on the Western Front is a German language film directed by Edward Berger, starring Felix Kammerer as Paul Bäumer. The story is set during World War I and follows Paul, an idealistic young soldier, as he and his friends enlist in the German Army and discover the realities of war. This is the third film adaptation of the novel, following the Best Picture-winning version from 1930 and a television film from 1979.

All Quiet on the Western Front is nominated in nine categories, including Best International Feature Film, Best Adapted Screenplay, and Best Cinematography. It is the only foreign language film to be nominated for Best Picture this year.

Krissen’s Thoughts

I’ve grown to appreciate war movies a lot in recent years, but there was something missing at the heart of All Quiet on the Western Front that films like Dunkirk and 1917 exhibited more. While this film is surely a technical feat, with incredibly realistic action and gorgeous cinematography, its story differs too much from its predecessors and loses some of what makes it so compelling. While the new storyline of armistice negotiations is an interesting addition, the removal of Paul’s return home (as in the book and original movie) feels too pivotal to omit. As the third adaptation of the book, it does beg the question of why another interpretation was needed. Does the world today need more war movies? Especially one so dark and bleak?

I rate this 7/10.

Nolan’s Thoughts

The production design and the sheer scale of the battle sequences is very impressive. I felt front and center on the battlefield. The film doesn’t shy away from the horrors of war with intensely violent moments that really got my heart pounding. The human aspect of battle is often lost in epic war movies in favor of creating spectacles of action, but I thought this film balanced both of these elements well. Felix Kammerer gives a terrific dramatic performance, perhaps best exemplified in the stabbing scene with the French soldier. It was epic in scale and emotion and I’m almost positive it will win best foreign film, but overall I feel like we are running out of ways to tell war stories.

I give it a 6/10.

Krissen’s Thoughts

Is Avatar a technical marvel? Absolutely. The visuals are stunning, impressive, and fun to look at. This is an entertaining movie, but at the end of the day, is “looking good” enough? This film has a three-hour plus runtime, but the story doesn’t really justify the length. There are too many characters (some more pointless than others), too many recycled elements from the first film (the same villain? Really?), and too many unexplained plot points. Also, Sam Worthington is a decent actor, but someone needs to get him a dialect coach because his Australian accent was slipping in and out throughout the entire film. 

I rate it 6/10.

Nolan’s Thoughts

There’s no denying that the visuals are stunning. James Cameron puts together a truly beautiful looking film. While it was entertaining, it seemed like the plot was thin and pretty basic. It boiled down to: two unexplained children that are integral to the story, Jake has a total of 4 kids and spends the entire film wondering where they’ve run off to, and the same villain from the first one continues to hunt them. It wasn’t strong enough to fully bring me back into the world after 14 years and get me excited about seeing three more of these. It’s gorgeous to look at, but overall it felt a little too spectacle and not enough substance. 

I give it a 5/10.

Set on a remote island off the coast of Ireland, The Banshees of Inisherin is a dark comedy about two lifelong friends and the consequences that follow after one abruptly ends their relationship. The film reunites director Martin McDonagh and stars Colin Farrell and Brendan Gleason, who all previously worked together on In Bruges. 

The Banshees of Inisherin is nominated for nine awards, including Best Director, Best Actor—Colin Farrell, Best Supporting Actor—Brendan Gleeson and Barry Keoghan, Best Supporting Actress—Kerry Condon, and Best Original Screenplay.

Krissen’s Thoughts

When I first saw Banshees, I didn’t know what to think of it. At face value, its plot is utterly bizarre and its casual, dark intensity a bit disturbing. But understanding its allegory of the Irish Civil War makes it all make perfect sense. Gleeson and Farrell are wonderful, as are the supporting players Keoghan and Condon. The writing is intriguing, genuinely funny, and meaningful; it provokes thought on legacy, dreams, conflict, and what a life ought to look like. It also features the wonderful Irish swear, “feck,” to no small degree!

I rate this 8/10.

Nolan’s Thoughts

Definitely one of the most unique films on this list. Brendan Gleeson and Colin Farrell are both excellent. I really loved the way this film blended the calmness and beauty of the Irish countryside with the dark and intense nature of their broken friendship. The entire film has a subtle eeriness to it from the very beginning and the intensity really builds disturbingly all the way through to the fiery end. I went through almost every emotion while watching this film. 

Somehow self-mutilation, dark comedy, an adorable donkey, and a bitter feud add up to a real work of art.

I give it an 8/10.

Krissen’s Thoughts

I was really excited for this movie as I had loved Elvis’ music when I was a kid—which probably has something to do with my Hawaiian background (Hawaiians really seem to love Elvis!) While the movie itself seems completely overdone (over stylized, even for Baz, and overedited), there is no denying how excellent Austin Butler is in this role. It is a complete transformation. And more impressive is how well he matched his singing in his early years. Tom Hanks, on the other hand, is incredibly odd as Tom Parker, and seems a strange accented caricature of this figure in Elvis’ life.  

I rate this 6/10. 

Nolan’s Thoughts

I’m not a huge fan of Baz Lurhman in general. I respect his visions and creative energy but I felt like his trademark style didn’t really fit exceptionally well with this biopic. It just seemed very overproduced and overedited. On top of that, telling the story through the manager’s eyes and narration gave the film kind of a weird scope. I’m not sure it was the best choice to tell Elvis’ story. On a positive note, Austin Butler was amazing as Elvis. His passion and energy really jumps off screen. I think he was excellent, and the fact that he sang everything himself makes it even more impressive.

I give it a 5/10.

Everything Everywhere All at Once is directed by Daniel Kwan and Daniel Scheinert (collectively known as Daniels) and stars Michelle Yeoh as a Chinese-American immigrant who discovers the multiverse while being audited by the IRS. The film also marks the acting return of Ke Huy Quan, notable for his childhood roles in Indiana Jones and the Temple of Doom and The Goonies. Jamie Lee Curtis and James Hong also appear in supporting roles. 

Everything Everywhere All at Once leads with eleven nominations, including Best Director—Daniel Kwan and Daniel Scheinert, Best Actress—Michelle Yeoh, Best Supporting Actor— Ke Huy Quan, Best Supporting Actress—Jamie Lee Curtis and Stephanie Hsu, and Best Original Screenplay. 

Krissen’s Thoughts

This is, hands down, the single most original thing I’ve seen in a very, very long time. It is wild and disorienting—an absolute mess—in the best ways, and beneath a wonderful meld of genres, a timeless story of a mother and daughter who, though fundamentally don’t understand one another, love each other deeply. This film and Greta Gerwig’s Lady Bird from 2017 need to be mandatory watches for all mothers and daughters. Michelle Yeoh plays a role that feels as though no one else could have played her; Ke Huy Quan proves that he shouldn’t have been shut out of Hollywood for decades; and newcomer Stephanie Hsu showcases a talent that will hopefully be utilized in films for many years. 

I rate this 9/10.

Nolan’s Thoughts

Ok so I’m a little biased here since I have been in love with Michelle Yeoh since I first saw her in Supercop back in the mid ’90s, but this film is incredible. It features every aspect of great filmmaking cranked up to eleven. From the electric pace of the editing and the wild scope of the multiple universes, to the awesome fight scenes, and the completely original story, it grabbed me and didn’t let go from the very beginning. It’s so refreshing to see something so unique on the nominee list. The cinematography and music were absolutely awesome, but the heart of this crazy film is definitely in the heartfelt dramatic and yet sometimes comedic performances by Ke Huy Quan (love having this man back in a big way again!) and Stephanie Hsu. And then there’s the unstoppable force that is Michelle Yeoh. Comedy, action, drama, romance, suspense—you name it! She can do literally anything and this film showcases all of it. On paper this movie should be a giant mess, but the Daniels really knocked it out of the park.

I give it a perfect 10/10.

The Fabelmans is a coming-of-age drama directed by Steven Spielberg and loosely based on his childhood. The film stars Gabriel LaBelle as Sammy Fabelman, with his parents played by Michelle Williams and Paul Dano. Seth Rogen and Judd Hirsch appear in supporting roles. 

The Fabelmans has seven nominations, including Best Director—Steven Spielberg, Best Actress—Michelle Williams, Best Supporting Actor—Judd Hirsch, and Best Original Screenplay.

Krissen’s Thoughts

I’m saddened to say that this fell short for me. In a movie about the passion for and power of film, the story never delved deep enough into the artistry of it all. It was more a melodrama about a broken family, disjointed in its sections, and lacking that elusive movie magic that Spielberg is otherwise known for capturing his entire career. There were certainly parts of this film that were good—I loved all of the moments that focused on Sammy’s movie making. Judd Hirsch’s crazy ten minutes of screen time was intriguing, but when he vanished as quickly as he appeared, never to be heard from again, it felt extremely out of place. Don’t get me started on the last scene and that last shot! 

I rate this 6/10.

Nolan’s Thoughts

I love Steven Spielberg, and I was very excited to see where his passion for filmmaking started in this movie. I couldn’t help but feel a little disappointed with the result. It really dragged in places and never really decided exactly how to best tell the story. It just felt like the formula was 45 mins of a dramatic family issue, a short clip of home movies, then a sharp change of topics, and repeat. It definitely had its moments that I loved. Seeing the young boy creating his own home films and using clever practical effects took me back to my own childhood and the fun movies I used to make. I couldn’t help feeling that I wanted the film to focus much more on that aspect and seeing him grew up to appreciate and even invent some really interesting cinematic styles as he reached legendary director status, but we only saw glimpses of that peppered throughout the drama. It felt very average all around. I’ve come to expect much more from such a master filmmaker.

I give it a 4/10.

Cate Blanchett stars as the titular Lydia Tár, a renowned conductor accused of sexual abuse, in this psychological drama written and directed by Todd Field. The supporting cast includes Nina Hoss, Noémie Merlant, and Mark Strong. 

TÁR is nominated in six categories, including Best Director—Todd Field, Best Actress—Cate Blanchett, Best Original Screenplay, and Best Cinematography. 

Krissen’s Thoughts

One of the most interesting things surrounding this movie is the somewhat cultural phenomenon of people genuinely thinking that Lydia Tár is real. I think that speaks volumes on how relevant and interesting the subject matter is, which I do believe goes a little beyond just a meditation on cancel culture, but on art and the artist, and on power. At times pretentious, due to being richly steeped in its orchestra/conductor setting, and preachy, like in that Julliard scene, it works so well because this is a film about a powerful, messy, awful woman. I would not have cared to even view this if it were about a man. Blanchett’s performance is obviously the highlight, as she delivers lengthy monologues and feels extremely lived in her character. As a reviewer on Letterboxd said, I have to agree: “I respect TÁR far more than I actually enjoy it.” 

I rate this 7/10.

Nolan’s Thoughts

Cate Blanchett adds yet another powerhouse performance to her body of work. Her ability to play a dark and disturbing character while still captivating the audience and even almost gaining sympathy is truly remarkable. It reminded me a lot of JK Simmons in Whiplash. The haunting cinematography also really enhanced the uncomfortable nature of the film. I did feel like the pace dragged a bit in some parts. Some of the more bland or almost repetitive scenes could have benefited from tightening up the editing especially toward the middle of the film. Overall it wasn’t the most exciting film on the list, but it proved an excellent character study in power, manipulation, abuse, and passion expressed by one of the best actresses of our time.

I give it a 6/10.

A sequel to the 1986 film Top Gun, Tom Cruise returns as the titular Maverick after more than 30 years. The film follows the naval aviator as he trains a group of younger Top Gun graduates, including the son of his deceased best friend, for a dangerous new mission. Supporting roles are played by Miles Teller, Jennifer Connelly, Jon Hamm, and Val Kilmer, among others. 

Top Gun: Maverick has six nominations, including Best Adapted Screenplay, Best Original Song—“Hold My Hand,” and Best Film Editing.

Krissen’s Thoughts

I hadn’t seen the first Top Gun until about 24 hours before I saw this film. It was okay; extremely dated, had a loose plot, and had my pet peeve of using the same song multiple times in a 30 minute time period. So, when I ended up at the (packed) theater to see the sequel, I had extremely low expectations. Then I left as a fan, humbled by my doubt. Look, I know this is “popcorn cinema;” but it’s “popcorn cinema” done well. It’s fun and exciting; each flying sequence is thrilling and all the more breathtaking when you learn that those actors were actually in the air, pulling real Gs. At the nominees luncheon, Steven Spielberg was heard saying to Tom Cruise, “you saved Hollywood’s ass” and I’d have to agree. This is the type of movie that they just don’t make much of anymore and it’s great to sit back and enjoy.

I rate this 8/10.

Nolan’s Thoughts

Knock it if you want, but I think this movie kicked ass. A lot of people are unhappy that this is on the nominees list, but I’m actually pretty excited about it. Other than war films, action movies are rarely ever considered for any major awards so it’s a lot of fun to see this get some attention.  The production that went into making this epic sequel was pretty incredible. It’s hard not to be impressed by the practical use of actual jets and insane flying sequences. The film itself is wildly entertaining in all aspects. It honors the original very well with some tender moments, but also takes on an adventure of its own. It was the first time I heard a crowd cheering in the theater outside of a Marvel movie. It was action packed, a good dramatic story, intense and exciting. I enjoyed the hell out of it.

I give it an 8/10.

A satirical black comedy that follows a celebrity couple on a luxury cruise with other wealthy guests, this is director Ruben Östlund’s English-language feature film debut. It won the Palme d’Or at the 2022 Cannes Film Festival and stars Harris Dickinson, Charlbi Dean, Dolly de Leon, and Woody Harrelson, among others. 

In addition to Best Picture, Triangle of Sadness is nominated for Ruben Östlund in the Best Director and Best Original Screenplay categories.

Krissen’s Thoughts

This film was the only one on the list that I knew virtually nothing about before viewing. A little odd, and a bit slow at times, this was mostly entertaining and felt different from some of the other nominees this year. In essence, it is akin to Parasite (2019), but with more rich snobbery and less nuance. Funny and biting at times, but a bit too drawn out. Food poisoning aboard a fancy yacht during a storm turns into exactly the visuals you’d imagine, but features a bit too much ickiness for my taste. The third act is the most interesting, but its open-ended closing scene leaves a lot up for discussion, as does its overall thematic message. Dolly de Leon is refreshing, Dickinson and Dean a delightful match, especially in the awkward first act. 

I rate this 7/10.

Nolan’s Thoughts

What a bizarre and yet pretty enjoyable ride. It almost felt like Parasite on a boat to me. From projectile vomiting during an ocean storm, to a brutal donkey murder, this film took turns I was not expecting. Ruben Östland did a terrific job making us feel uncomfortable in almost every scene. While it was oddly satisfying to see the rich elite passengers slowly fall apart during their perilous yacht journey, I felt like the film lost me a bit in where it chose to focus the most time. I felt like we spent the same amount of time watching Carl and Yaya arguing over the check that we did with the survivors stranded on the island. Even though I didn’t love the way it was presented, it still juggled being dark, sad, quirky, odd, uncomfortable, funny, and entertaining all at once quite well.

I give it 7/10.

Based on the 2018 novel of the same name by Miriam Towes, Women Talking is written and directed by Sarah Polley, and is inspired by real events of rape and sexual assault that occurred at the Manitoba Colony, a remote and isolated Mennonite community in Bolivia. The film stars an ensemble cast of Rooney Mara, Claire Foy, Jessie Buckley, Ben Whishaw, and Frances McDormand, who also serves as a producer. 

Women Talking is also nominated for Best Adapted Screenplay—Sarah Polley.

Krissen’s Thoughts

Women Talking is one of those films that reminds you that film is not only an artform, but a platform. Yes, there is nothing necessarily visually interesting in the film, besides perhaps an odd choice color gradient and decent editing. Most of it runs like a play—a group of women (plus the lovely Ben Whishaw) meet in the loft of a barn to discuss how they should proceed in a community that has greatly wronged them. We listen and ponder on their talks of faith, autonomy, and rage. But while this movie is not like others in watchability or artistic merit, it is important, since movies can often have a broader reach than books. Claire Foy and Jessie Buckley are standouts to me. It’s a powerful film, but ultimately too draining, I think, for mass appeal or awards. But still—important.

I rate this 8/10.

Nolan’s Thoughts

This film is bleak, but quite powerful. The horror these women felt from the monstrous men in the village was delivered by some truly terrific acting performances. Especially from Claire Foy and Rooney Mara. Cinematically speaking I didn’t feel there was anything spectacular featured other than the color palette and use of flashbacks, but the performances and extremely relevant subject matter still pushed it to a higher rating from me. Even though it was just a small glimpse into the world these women lived in, it still conveyed the sadness, and bravery to stand up and refuse to be harmed and ruined by the men in the village. The things women went through and continue to through the hands of men is truly appalling. I for one will try to be a little more like Ben Whishaw’s character every day.

I give it an 7/10.

Krissen’s Ranking

1. Everything Everywhere All at Once
2. The Banshees of Inisherin
3. Top Gun: Maverick
4. Women Talking
5. TÁR
6. Triangle of Sadness
7. All Quiet on the Western Front
8. Avatar: The Way of Water
9. Elvis
10. The Fabelmans

Nolan’s Ranking

1. Everything Everywhere All at Once
2. The Banshees of Inisherin
3. Top Gun: Maverick
4. Women Talking
5. TÁR
6. All Quiet on the Western Front
7. Triangle of Sadness
8. Avatar: The Way of Water
9. Elvis
10. The Fabelmans