Frostwritten

This is my personal ranking of the 2023 films nominated for Best Picture at the Oscars this year. My projected winners list is a separate matter, but I’ve missed listing these out the past couple of years and offering my unsolicited opinion, so here goes!

10.) Maestro

“It’s my own arrogance to think I could survive on what he could give.”

As the online discourse over the awards season has frequently claimed, Maestro, the Bradley Cooper-helmed biopic of musical legend Leonard Bernstein, is blatant Oscar fodder. It’s silly to think that filmmakers don’t consider potential awards when crafting a project, but it doesn’t always come across so… obvious. Now, I like Cooper – I think he has great skill for directing, as well as his acting – and this film is no exception. Although Carey Mulligan garners the brightest spotlight as Bernstein’s wife Felicia Montealegre, Cooper’s passion for the project as both an actor and a director is apparent. The cinematography is gorgeous, as is the sound. But while the film strives for that Old Hollywood glamour in the first half, burying hints of future matrimonial strife and personal struggles beneath a lush score, whimsical transitions, and a dreamy dance-sequence, it jarringly shifts to a stark drama where the glitz turns to grief and the sparkle of storybook romance fades to the reality of flawed and painful love, and the shift is a little too… calculated. That said, the film itself relies on a lot of nuance, and subtlety, that is somehow too loud to be truly effective. The scenes of Cooper conducting are incredible, and I do think he will get his flowers someday – but I don’t think his ambitious attempt in Maestro will be that moment. There’s a reason I watched this film last, and it’s the only one I did not see in theaters, but I also wouldn’t dissuade anyone from watching it – it really is a well-crafted movie, and is worth watching for Mulligan’s performance alone.

9.) Killers of the Flower Moon

“Evil surrounds my heart. Many times, I cry, and this evil around my heart comes out of my eyes. I close my heart and keep what is good there, but hate comes.”

This was a tough one for me, because I felt as though I should have liked the movie a lot more than I did. That’s not to say I thought it wasn’t a good film. Scorsese is a masterful storyteller, the film is beautifully shot, each role is well-acted, and it weaves a compelling tale based on true events which many Americans might not be aware of, about the string of murders of Osage people who have claims to land that is rich in oil in 1920’s Oklahoma. 

My issue with the movie mainly comes from the way it’s framed – Lily Gladstone is the heart of the film, and her performance is phenomenal, but although she is nominated in the Best Actress category, her screen time is under an hour in a four-hour film. I was not exceptionally enthralled by Leonardo DiCaprio’s Ernest Burkhart, who is on screen the most. Not because of poor acting – his performance is great – but because he’s not sympathetic, and his so-called struggle comes across as shallow. The choice to show the story largely through his perspective is unusual, considering he is NOT likable or (from my perspective) redeemable, and, although I dislike debating “truth” versus artistic liberty in films like this, I felt as though Ernest was presented as someone the audience is supposed to feel bad for as he grapples with the morality of his actions, which is a strange direction to take. I have not yet read the book, but it is my understanding that it follows the FBI investigation, which I almost wish the film had done, because you go through the entire almost FOUR HOUR MOVIE knowing who the “bad guys” are the whole time, which eliminates almost all suspense in a film that, in my opinion, never quite settles on a tone. I did not like Scorsese ‘s previous epic The Irishman either, although Mean Streets remains one of my favorite films of all time. I did, however, find the radio-show inspired ending of the film to be a cool choice… even though it’s in contrast to the beginning of the film, and makes for mismatched bookends. Overall, it’s a powerful film that strayed in an unusual artistic direction, but it’s still worthy of all the noms it has received. I won’t be disappointed to see Lily Gladstone take home the Best Actress trophy, although she ranks second on my personal list. And I maintain that NO FILM aside from The Lord of the Rings needs to be four hours long, no matter who the director is. Less can be more.

8.) Barbie

“Okay, kids, it’s time to run out and get the new Depression Barbie. She wears sweatpants all day and night. She spent seven hours today on Instagram, looking at her estranged best friend’s engagement photos, while eating a family-size bag of Starbursts. And now her jaw is killing her. And she’s going to watch the BBC’s Pride and Prejudice for the seventh time until she falls asleep. Anxiety, panic attacks, and OCD sold separately.”

Barbie features a slew of memorable quotes, but I included the one above because I have never felt SO SEEN by a film before, which is a testament to how well-crafted the entire project is. I was a happy Barbenheimer participant (saw a Barbie matinee and an Oppenheimer evening show) and came out of Barbie feeling like I had witnessed something special in a theater packed with people of all ages. The story, about the titular doll embarking on a (somewhat ludicrous and  brightly-colored) journey of self-discovery, is a bit heavy handed in it’s messaging, but, when you consider that a lot of little girls (and boys) will likely be seeing the film, such a decision is understandable. Costume design, production design, cinematography, and the performances were all incredible, and it is not difficult to see how Barbie revitalized the box office this summer, with Oppenheimer not far behind. While I was surprised by both the Robbie and Gerwig snubs for this film, I also struggle to see who I would have swapped out for them, but regardless of that, the passion of everyone involved in this project is clear in the way they have proudly promoted the film all throughout the year. To make a movie about a doll into a funny, whimsical adventure into the depths of identity and womanhood, of the shattering of childhood innocence into the acceptance and embracing of growth, where any woman (or man, or person) can see bits and pieces of themselves represented, is a feat not to be scoffed at. I almost wish I was still taking a Women in Film class back in college – this year has brought many women-helmed and led films worthy of discussion. And although his chances are slim, Ryan Gosling taking the trophy home for his portrayal of Ken would not be a disappointment – although it would be a little ironic, if the most prominent male actor in Barbie was awarded for a film largely about female empowerment. Although I am sure we are all stoked to see him perform “I’m Just Ken” onstage tonight.

7.) The Zone of Interest

“I wasn’t really paying attention… I was too busy thinking how I would gas everyone in the room.”

The Zone of Interest is not an enjoyable, nor necessarily entertaining, movie, but it delivers a haunting message that has lingered in my mind long after the credits. It is a movie about what isn’t seen. We follow the Hess family, led by commandant Rudolf and his wife Hedwig, as they strive for an idyllic life in the literal shadow of Auschwitz. You watch a German family have parties, a husband and wife argue about a potential transfer, a mother and daughter discuss flowers, while there are gunshots echoing, soldiers berating prisoners, smoke billowing in the background, and the skies glow red from fire at night. Chilling statements are delivered like offhand comments, as though genocide is a topic as commonplace as the weather. The viewer is left to infer, to analyze, to sit and feel uncomfortable about watching a family that goes about their daily life while sickening atrocities are happening practically in their backyard, with the patriarch of the family playing an active role in the unfurling horror, and that message is helped by the top-tier sound design. The narrative structure is atypical, and though I’m all about nonlinear stories, the ending of this one – where the line between past and present is blurred, and the viewer is shown a physical representation of what commandant Hess, and his fellow Nazis, saw as a victory – felt a little strange, but the more I reflect on it, the more I appreciate it. The direction is superb, and although it’s not a movie I’d necessarily recommend to everyone, it might be the most important movie on the Best Picture nominee list. It’s a film that will unsettle you, latch onto you, and it does so in a way that will be impossible to forget.

6.) American Fiction

“People are more than their worst deed.”

I don’t think any movie on this list balances humor with drama quite as well as American Fiction. Jeffrey Wright stars as Thelonious Monk, a novelist who, fed up with the offensive tropes and stereotypes being celebrated in Black fiction, sets out to prove a point by writing a “Black novel” under a pen name – although his efforts don’t quite turn out how he intends. It’s funny. It’s smart. It’s got heart. It handles comedy, loss, grief, and acceptance in equal measures, and the movie feels genuine and honest in its examination of family dynamics and racial identity. And although it’s got plenty of laughs, it also analyzes some real world issues that will hopefully worm their way into the minds of viewers, about the perception and perpetuation of stereotypes and how harmful it can be, as well as how vital it is to embrace one’s authentic, even if others do not or see themselves differently. It’s insightful and nuanced, and although it’s an underdog in several categories, I hope it takes home some recognition on Oscars night. Even if it wasn’t my favorite film on this list, it is probably the one I enjoyed the most, and will likely be one that I will watch again and happily recommend to anyone. The ending – where Monk filters through various possible scenarios to end his project, debating which is the most “realistic” – is SO pointed, and so well done. I will also see ANYTHING with Jeffrey Wright. The man is brilliant. If he’s in a project, I’m there, and his turn in this film just solidifies that.

5.) Past Lives

“It’s true that if you leave you lose things, but you also gain things, too.”

This film, which examines “what could have been” through the eyes of two childhood friends who reconnect years down the road, is, to put it in the simplest terms, beautiful. The chemistry between Teo Yoo and Greta Lee is palpable, each scene so real and emotional, that it makes the final moments that much more wrenching for all parties involved. Directed masterfully by Celine Song, the film uniquely addresses the Korean idea of “in yun,” of past lives and reincarnation and fate, examining the giddy excitement first love fading with distance and time, then reigniting after paths have long-since diverged, and happiness has already been found elsewhere, and footsteps cannot be retraced – nor should they. I cannot recommend this movie enough – it will break your heart, but also make you believe in love, and I think the ending was absolutely perfect because it is not tied up with a neat little bow. It’s smartly written, gorgeously shot, and each role is performed with a sincerity that feels undeniably genuine. I am devastated that Greta Lee missed out on a Best Actress nod because she was the soul of this film, and, if he’d had maybe a smidge more screen time, John Magaro’s performance as Arthur is also an emotional gut-punch worthy of recognition.

4.) Anatomy of a Fall

“Sometimes a couple is kind of a chaos and everybody is lost. Sometimes we fight together and sometimes we fight alone, and sometimes we fight against each other, that happens.”

I wasn’t sure what to expect out of Anatomy of a Fall, but I left the theater absolutely blown away. Sandra Huller delivers a raw, wrenching performance as a writer suspected of murdering her husband after he is found deceased in the snow outside of their family home, having either fallen, jumped, or been pushed from a window. With the only potential witness being her visually-impaired son (and his guide dog, Snoop), she strives to prove her innocence as her privacy is invaded and secrets laid bare in the courtroom. The film is an exploration of relationships, identity, of truth and love and hatred, of emotional turmoil and indifference, and is buoyed by an exceptional script and direction from Justine Triet. By the end of the film, there is no definitive answer, despite the outcome of the trial – and that is a testament to the powerhouse performance of the lead actress, Huller, along with a subtle, but simmering screenplay. She and Emma Stone are tied for me in terms of Best Actress, with Lily Gladstone maybe half a step or less behind, and the kitchen argument scene (IYKYK) alone might win this film Best Original Screenplay. And I am likely not alone in wishing that Messi, the delightful dog who portrayed Snoop, would get some flowers on Oscar night, much as I wished the same for Jenny the Donkey last year. Needless to say, Anatomy is not a movie that should be slept on, and if you missed it, I highly recommend you amend that.

3.) Oppenheimer

“You don’t get to commit to sin and then ask all of us to feel sorry for you when there are consequences.”

I am, admittedly, a Christopher Nolan fan girl, and although it wasn’t my favorite movie on this list, Oppenheimer is the front-runner to take home the gold on Oscars night – and for good reason. This biopic, about the godfather of the atomic bomb in WWII-era America, effectively straddles the line between blockbuster and arthouse, appealing to both broad and narrow audiences. Did it garner a lot of steam and box office success from back-to-back Barbenheimer screenings? Most likely. But that’s not to diminish its accomplishments – participating in a viral trend might have pulled more viewers into seats, but the film itself kept them there, and word of mouth kept them flocking to the theater. For a film like this to be such a smashing hit is a marvelous feat, and it benefited from powerful performances, music, direction, and a vision that only a passionate filmmaker like Nolan can make feel fresh and new, even if it treads familiar ground. It also handles delicate subject matter in a meaningful way – when the Manhattan project tests out the fruits of their labor in the wasteland, the team celebrates and cheers, but in the aftermath of the real bomb, with real consequences, and the rippling effect it had on the world, it is not treated as a victory, nor some epic moment of national pride. It is met with a grim silence, with the gravity of the situation crushing Oppenheimer and several of his comrades. It is haunting, and tragic, and does not feel like success – as it shouldn’t. It simply opens the door to a greater, creeping fear for the future of the world, as Oppenheimer agonizes over his role in pushing that button. Although I’d prefer to see Giamatti win Lead Actor and Ruffalo conquer supporting, I think Cillian Murphy – who truly was revolutionary as Oppenheimer – and Downey Jr. are both a lock. Nolan should take home the gold for Director (although Lanthimos and Triet are a close second for me) and I am almost positive Oppenheimer will win Best Picture, and it truly deserves to, which would almost make up for The Dark Knight being snubbed for Best Picture back in ’08. Although even I, as a rabid fan girl, do admit that Nolan does not write women exceptionally well. He’s not awful by any means, but could use some pointers – so maybe he and Justine Triet or Celine Song should team up for something.

2.) Poor Things

“I have adventured it and found nothing but sugar and violence.”

Poor Things is a visual feast, a sumptuous and bizarre exploration of identity, and might be the most polarizing film on this list. The tale of a young woman named Bella who embarks on a journey of self-discovery after being brought back to life via science experiment is perhaps director Yorgos Lanthimos’s strangest yet. To put it in the simplest terms, it’s Frankenstein Barbie with a LOT of (occasionally uncomfortable) sex scenes. Bella’s absurd ventures lead her toward intellectual expansion, sexual liberation, and individual development as she meets a variety of colorful (and sometimes deplorable) characters who teach her about the cruelties and wonders of the world, which encourages her to experience things for herself, to taste the bitter and the sweet, and form her own opinions. The dance scene alone, with Emma Stone and Mark Ruffalo, is worth the price of admission. On that note, Stone’s portrayal of the resurrected Bella Baxter is a career best – she is utterly uninhibited, unabashed, unashamed, and unbelievable in the role, and is tied with Sandra Huller for my personal pick for Best Actress. Mark Ruffalo is similarly unrecognizable as the foppish cad Duncan Wedderburn, and although he’s a dark horse, I do wish he had a shot at taking home the gold tonight, but Downey Jr. is a titan that will not easily be felled. The cinematography, costume design, music, and production design are stunning, and Lanthimos’s direction is on point, but Nolan will not be easily outpaced in the Best Director race either. I won’t say that some ideas presented in the film, or the interpretations of said ideas by some critics, aren’t problematic – I can understand the issues raised, even if I don’t necessarily agree. Much like The Zone of Interest, this movie is not for everyone and I would be hesitant to recommend it to someone unfamiliar with Lanthimos as a director or who is just looking to be entertained. I DO AGREE that the numerous sex scenes juuuuuust about stray into “okay, enough already, WE GET IT” territory. But at its heart, Poor Things is a hilarious, ridiculous, and jarringly heartfelt celebration of discovering one’s place in the world, of redemption and sacrifice, and is as fresh and unique and oddly uncomfortable as a dog/duck hybrid creature concocted in a lab.

1.) The Holdovers

“You’re just a kid. You’re just beginning. And you’re smart. You’ve got time to turn things around. Yes, I know that Greeks had the idea that the steps you take to avoid your fate are the very steps that lead you to it, but that’s just a literary conceit. In real life, your history does not have to dictate your destiny.“

Although it is a longshot to win the Best Picture statuette, Alexander Payne’s The Holdovers has my vote. It is simple, and subtle, in the best possible way. Set in 1970’s New England, the film follows a curmudgeonly classics teacher who is roped into staying at a prestigious boarding school over the holidays to watch the “holdovers” who have nowhere else to go. He ends up forming an initially antagonistic, but eventually genuine connection with troubled student Angus Tully (played by brilliant newcomer Dominic Sessa) and the unlikely duo end up helping each other come to terms with their fears, flaws, and insecurities. This film, like many others on this list, handles complex family dynamics, grief, loss, personal tragedy, yet ultimately offers a hopeful outlook on the future. As someone who lived in New England for a time, this movie made me homesick for it – the cinematography, and set/production design, create such an atmospheric experience it enhances the message of the film overall. Although it utilizes familiar tropes, such as “grumpy teacher” and “young troublemaker with parent issues” The Holdovers delivers a bittersweet human experience in a way that will resonate deep in your heart, even if you can’t relate. Giamatti is brilliant, as usual, and he’s my favorite to win Best Actor even though I’m fairly sure it will go to Cillian Murphy. I will say, I saw the film the day after I had to unexpectedly put my elderly cat to sleep. So my nerves were a little frayed, my emotions a little raw, and I just wanted to find solace in a movie. And this film was the perfect comfort, 100% exactly what I needed to see. I laughed (the gymnastics scene – iykyk), I cried (Da’Vine Joy Randolph is AMAZING), and this movie will become an instant holiday classic for me.

HONORABLE MENTIONS: The Boy and the Heron, Jules, Godzilla Minus One, Priscilla