The 97th Oscars awards ceremony is premiering this weekend on March 2. This year’s Best Picture nominees range from fictional priests to strippers to Bob Dylan. Usually, the academy nominates a few watch-worthy films accompanied by a snooze fest of pretentious “art” – but that wasn’t the case this year. Each of these films was engaging and left viewers thinking. But which film deserves to take home the humanoid statue? To answer that question, here is my official ranking of all of the Best Picture Nominees running for the 2025 Academy Awards.

Anora 

5 out of 5 goats

“Anora,” directed by the cult-followed Sean Baker, is a captivating blend of screwball comedy and social realism that offers a fresh perspective on contemporary life. The film follows Ani (Mikey Madison), a naive stripper and sometimes escort, who marries into the wealthy world of a Russian oligarch. Madison’s portrayal of Ani is both intense and vulnerable, encapsulating the character’s ferocity and underlying fragility. Madison’s commitment to realism is evident, particularly through the authentic Brooklyn accent she mastered. Baker praised Madison’s embodiment of the quintessential Brooklyn attitude, highlighting how her accent enhances the film’s authenticity and makes Ani believable as a character. The film’s comedic elements shine through sharp writing and improvisational moments, which balance the darker themes of Ani’s journey with the trouble she has gotten herself into. Baker’s writing ensures the resonation of humor without undermining the plot’s gravity – the screenplay finds joy in a setting that could easily sink into cynicism. Baker’s editing also contributes significantly to the film’s dynamic pace, keeping viewers engaged throughout the unpredictable chutes and ladders the cast must overcome. 

The Brutalist 

3 out of 5 goats 

“The Brutalist” is a visually striking film that dives deep into the raw, dark world of its characters, set against a backdrop of post-war urban landscapes. The film follows a Hungarian architect who escapes war-torn Europe to pursue a psychological battle in America. Through sharp camera angles and stark imagery, the film captures the isolation and emotional turmoil of its protagonist László Tóth (Adrien Brody). The brutalist architecture portrayed in the film mirrors the cold, detached atmosphere in which the characters inhabit. The performances are solid, with Brody delivering a powerful Best Actor-worthy performance. Unfortunately, “The Brutalist” suffers from pacing issues. With a running time of almost four hours, the film seems to stretch itself with certain scenes lingering too long, making the narrative feel bloated. Although the visual aesthetic and performances keep you engaged, the length detracts from the overall impact. “The Brutalist” could have benefited from tighter editing to enhance its storytelling and maintain audience interest throughout its extensive runtime. Despite its flaws, it remains a thought-provoking film.

A Complete Unknown
4 out of 5 goats

 “A Complete Unknown” catalogs the early years (1961 to 1965) of icon Bob Dylan’s career, embodied by Timothée Chalamet, who transforms and is reborn as Dylan. Chalamet has done a biographical before with “Beautiful Boy,” but we have never seen him in such a controversial and confusing character until now. Chalamet’s boyish charm fades away with every reckless and sometimes brutal decision Dylan makes. The film fronts Dylan as an enigmatic character with a devil-may-care attitude toward life and music. Dylan begins playing strictly folk music — just him and his guitar — but feels lost with his sound, until he debuts something different, something people of the time considered sinister: rock music. As Dylan rolls his stones closer and closer to the rock edge, his relationships with the people he loves and values crumbles. “A Complete Unknown” won’t answer your Dylan questions nor does it want to. The movie doesn’t want to make Dylan shiny and perfect; it leans into all of the singer’s imperfections, his genius, his fears, his hopes, his true unknowns.

Conclave

5 out of 5 goats

“Conclave” begins with the death of a fictional pope, leading to a conclave – the Catholic tradition of gathering cardinals to vote for the successor. The titular character, Cardinal Lawrence (Ralph Fiennes), is tasked with managing this election. But as it unfolds, scandals concerning other nominated cardinals come to light, wreaking havoc on the process. The entire cast is phenomenal: each performance is precise and distinct from the cardinals. Aldo Bellini (Stanley Tucci) begins as a calm voice in the craze of the election; he’s liberal and wants to continue the previous papacy’s agenda – but after days of voting, his calm façade diminishes under the pressure. Goffredo Tedesco (Sergio Castellitto) is Bellini’s main opponent, who believes that the church went downhill as soon as it got rid of the Latin Mass. Castellitto, although with very little screen time, is a veritable scene-stealer; he turns the role from minor to major. Relatively unknown Mexican actor Carlos Diehz portrays the newest cardinal of the bunch, Vincent Benitez. In his scenes, Diehz becomes a composed, thoughtful confidant to Cardinal Lawrence. “Conclave” was filled with twists and turns that shockingly had you biting your nails over an imagined pontiff.

Dune: Part 2 

4.5 out of 5 goats

“Dune: Part Two,” directed by Denis Villeneuve, offers an immersive cinematic experience that masterfully blends visual grandeur with compelling storytelling. The ensemble cast, led by Timothée Chalamet (Paul Atreides), delivers stellar performances that breathe life into these complex characters. Zendaya’s portrayal of Chani adds depth to the narrative, while newcomers to the series Austin Butler and Florence Pugh enrich the story with their contributions. The film’s cinematography is simply breathtaking, capturing the vastness of the fictional planet Arrakis – from its sweeping deserts to its intricate web of political landscapes – reinforcing the saga’s scope. The visual narrative is complemented by Hans Zimmer’s evocative score, which enhances the emotion of every scene. “Dune: Part Two” stands as a monumental achievement of modern cinema, displaying exceptional performances and stunning visuals that honor the source material while immersing you in a gripping, thrilling world.

Emilia Perez

0 out of 5 goats

“Emilia Perez” is a musical following a Mexican cartel leader, “Manitas,” who has a deep desire “to become a woman.” To do so, he involves a lawyer who helps him fake his death, leave his life behind and medically transition himself to Emilia Perez. All this happens in the first 45 minutes of the movie. Over the next hour and 20 minutes, Perez reunites with her children, falls in love with another woman and starts a nonprofit organization. There’s a lot wrong with this movie. The music is terrible, both lyrically and sonically, even with its controversial use of AI. But that’s one of the less controversial aspects of the film. “Emilia Perez” paints Mexico as a crime riddled, terrifying country, despite not even being filmed there. Many members of the LGBTQ+ community consider the movie as “a step backward for trans representation.” The movie also argues that because Emilia has transitioned, she has become a better person, equating transitioning to a “moral” decision. This movie does not deserve to be nominated in this category… nor in any category. It is an embarrassment to the academy, especially as it was the most nominated film for this year’s Oscars with 13 nominations. 

I’m Still Here 

4 out of 5 goats

“I’m Still Here” is a thought-provoking drama based on the true story of Eunice Paiva, played by Fernanda Torres. Set during Brazil’s military dictatorship in the 1970s, the film follows Eunice’s harrowing journey after her husband, Rubens Paiva, a former congressman, was abducted by the regime. The story delves into her relentless pursuit of justice while raising her five children amidst unprecedented political turmoil. Torres delivers an unmissable performance, capturing Eunice’s strength and vulnerability. This portrayal has earned her critical acclaim, with some considering it among the year’s best performances. The film’s cinematography, employing various film stocks from the era, effectively evokes the 1970s setting, immersing viewers in the atmosphere of the time. Walter Salles’ direction, based on personal connections to the Paiva family, adds authenticity and emotional resonance to the story. The slow burn of the film’s plot complements its reality.

Nickle Boys 

4 out of 5 goats

“Nickel Boys,” is a poignant adaptation of Colson Whitehead’s Pulitzer Prize-winning novel of the same name. The film immerses viewers in the harrowing experiences of Elwood Curtis (Ethan Herisse) and Turner (Brandon Wilson), two Black teenagers subjected to the brutal realities of a Florida reform school in the 1960s. Using an innovative first-person perspective, the narrative unfolds predominantly through Elwood’s eyes, allowing audiences to intimately connect with his journey. This approach not only personalizes Elwood’s story but also amplifies the emotional weight of the events depicted. The cinematography complements this perspective by capturing the world as Elwood perceives it – the colors on screen are rich, like how you imagine summer as a kid. This point-of-view technique has been praised for its ability to foster a relationship between the audience and the characters. Herisse and Wilson’s performances are compelling, making the characters’ experiences both relatable and profoundly moving. While the first-person viewpoint is a bold artistic choice, it may present challenges for some viewers unaccustomed to this style. However, for those open to a unique cinematic experience, “Nickel Boys” offers a powerful exploration of friendship, injustice and resilience.

The Substance 

4 out of 5 goats 

“The Substance,”  a provocative body-horror movie, delves into society’s obsession with youth and beauty. The film centers on Elisabeth Sparkle (Demi Moore), a former actress turned aerobics host, who desperately attempts to reclaim her youth through a mysterious treatment — “the substance” — which separates her younger version of herself, Sue (Margaret Qualley). The film’s special effects are remarkable. The “Monstro” creature was crafted with practical effects, such as prosthetic heads and bodysuits, resulting in a grotesque yet hypnotic appearance. Special makeup effects designer Pierre-Olivier Persin’s commitment to realism is evident, with the team pushing boundaries to create visceral transformations that are both shocking and captivating. Costume designer Emmanuelle Youchnovski contributes significantly to the film’s aesthetic as well, designing outfits that reflect the characters’ personas and the film’s satirical tone. The iconic yellow coat and the vibrant but minimalistic sets and costumes enhance the film’s purpose, providing a sleek and elegant contrast to the underlying grotesqueness. While the film’s 141-minute runtime may feel excessive, the meticulous editing and rhythmic pacing keep you stuck to your seat.

Wicked 

3.75 out of 5 goats

“Wicked,” brings Broadway charm to the big screen with grandeur and spectacle. Ariana Grande (Glinda) and Cynthia Erivo (Elphaba) deliver exceptional performances, capturing the essence of their stage counterparts. Their renditions of iconic numbers like “Defying Gravity” are both powerful and emotive — especially because most of their vocals were sung and filmed live. The film’s costume design is a feast for the eyes, with elaborate outfits that showcase the fantastical world of Oz. From Elphaba’s nails to Glinda’s dresses, the attention to detail in the costumes added depth and authenticity to the characters, bringing the magical setting to life. Even with amazing performances, at 2 hours and 40 minutes, the movie’s pacing feels uneven. While some sequences are richly detailed, others seem drawn out, affecting the overall flow. The last 30 minutes of the movie have you checking the time or wondering if this is the right time to go to the bathroom. This extended runtime covers only the first half of the original musical, leaving audiences anticipating the continuation of the story.

The academy voters will have a tough time voting this year as the two front runners “Anora” and “Conclave” have consistently been at the top in other awards this year. I hope that “Anora” will take home the trophy because it deserves it – Baker has created a star and it deserves to shine brighter than all the rest.