Oscar's 10 Best Picture Nominees (and where to watch them)

Get the popcorn ready! On Tuesday, the Academy announced its ten nominees for Best Pictures, which aligns with the Producer's Guild list for the first time since the 1990s (when there were just five nominees). It's one of the collective best lists in years.

Before the curtain rises on the awards ceremony on March 10th, here's your guide to catching these gems, kicking off with the monster that's leading the pack in nominations and poised to sweep categories from best picture, director and cinematography to supporting actor and sound.

OPPENHEIMER, 13 NOMINATIONS

From its seamlessly dizzy flow of flashbacks to its weighted introspection, every second of Oppenheimer is definitely a Nolan film. And one of his best. Telling a historical story, with accuracy respected, gives Nolan some restraint in storytelling that reduces his head-scratching tendencies (Tenet, Interstellar, Inception). Oppenheimer sits on the shelf with Nolan's Dunkirk, Memento and The Dark Knight. And this is the one that will finally win him the Oscar for directing and picture.

Nominated for: Best picture, director, actor, supporting actor, supporting actress, adapted screenplay, production design, costume design, cinematography, editing, makeup and hairstyling, sound, original score.

Where to watch: Rent now on VOD (Amazon, Apple, YouTube). Coming to Peacock TV on February 16.

POOR THINGS, 11 NOMINATIONS

It's alive! If you had a woman's coming-of-age journey that borrows from Frankenstein and takes place in a saturated steampunk world on your bingo card for the second-most nominated film of the year, you should probably be a character in this film.

Director Yorgos Lanthimos (The Favourite, The Lobster) has created an award-season monster that will probably get Emma Stone her second (deserved) Oscar for a performance that leaves all other nominated actresses and not-nominated Margot Robbie, in the dust.

Nominated for: Best picture, actress, supporting actor, director,  original score,  cinematography, adapted screenplay, production design, costume design, makeup and hairstyling, film editing.

Where to watch: In theaters now

KILLERS OF THE FLOWER MOON, 10 NOMINATIONS

Martin Scorsese took David Grann’s excellent, 2017 nonfiction page-turner and shifted its focus to create an unforgettable, historic epic. The film's strongest chance for a win is with Lily Gladstone (Reservation Dogs) as Mollie Burkhart. She shoulders the emotional narrative in a quiet performance that is unnerving.

Nominated for: Best picture, director, actress, supporting actor, production design, costume design, cinematography, editing, original score, original song.

Where to watch: Stream now on Apple+.

BARBIE, 8 NOMINATIONS

Greta Gerwig (Little Bird, Little Women) didn't deliver a toy movie, but a fun, funny summer film with a universal message — and it became the cultural phenomenon of 2023. Despite the fuss about nominations, this Mattel toy blockbuster comedy is up for 8 Oscars. Margot Robbie, as producer of the film, and Greta Gerwig, for the screenplay, are still nominees despite what you may have heard on social.

Nominated for: Best picture, supporting actor, supporting actress, adapted screenplay, production design, costume design, original song (the max two nominees).

Where to watch:Stream it on MAX. Or rent it on VOD.

MAESTRO, 7 NOMINATIONS

Bradley Cooper orchestrates his passion project with high style and a bravado performance as both actor and director. The film explores the personal life of American composer and conductor, Leonard Bernstein. I wanted more about his craft, but that's not the film they made. On the plus, it's gorgeous and Carey Mulligan does some of her finest work.

Nominated for: Best picture, actor, actress, original screenplay, cinematography, makeup and hairstyling, sound.

Where to watch: Stream on Netflix now.

ANATOMY OF A FALL, 5 NOMINATIONS

The winner of the Palme d’Or at last year’s Cannes Film Festival. It's not eligible for Foreign Language film, as France submitted another film, yet it still gathered five nominations. It's a murder mystery/courtroom drama that is so expertly crafted and engagingly unique that you wonder why all the others in its genre seem the same. 

Nominated for: Best picture, director, actress, original screenplay, editing.

Where to watch: Rent it now on VOD.

AMERICAN FICTION, 5 NOMINATIONS

One of the most easily enjoyable films of the year is this comedy from writer-director Cord Jefferson that rewrites the book on stereotypes to laugh-out-loud effect. The set-up follows a frustrated novelist who writes a stereotypical "black book" as satire, only for it to be published and popular. However it reveals itself in time as a family drama and character study led by American film treasure Jefferey Wright (The Batman, Asteroid City, The French Dispatch).

Nominated for: Best film, adapted screenplay, original score, supporting actor.

Where to watch: In theaters now

THE HOLDOVERS, 5 NOMINATIONS

From its film grain and vintage lenses to its wintery New England setting, this cozy must-see from director Alexander Payne (Sideways, Nebraska, The Descendants) features Paul Giamatti and Da'Vine Joy, who are both frontrunners to win actor and supporting actress. The film follows a curmudgeonly instructor (and cafeteria manager) at a 1970s prep school as they remain on campus during winter break to babysit a handful of students including Dominic Sessa, in an excellent film debut.

This is the film I've already seen twice, and will someday in the future.

Nominated for: Best picture, actor, supporting actress, original screenplay, editing.

Where to watch: Stream it now on Peacock. Or buy it on VOD.

THE ZONE OF INTEREST, 5 NOMINATIONS

This film from Jonathan Glazer (Sexy Beast) imagines what life next door to horror looks like as the commandant of Auschwitz and his wife strive to build a dream life for their family in a house and garden next to the death camp. Obviously, there is nothing ordinary about this life or this film.

Nominated for: Best picture, director, adapted screenplay, international feature film, sound.

Where to watch: In theaters now.

PAST LIVES, 2 NOMINATIONS

Past Lives explores a story of untapped possibilities and in-yun, the universe’s way of reuniting souls who shared a connection in previous lives. Luckily, it is quite the antidote to years of repetitive movies about multiverses.

In its own quiet and distinctive manner, this film starring Greta Lee emerges as an emotionally resonant love story that stands out as one of the most impactful of this decade. It was my favorite film of 2023. 

Nominated for: Best picture and original screenplay.

Nominated for:  Trust me on this one. Rent it now on VOD.

The Ten Buck Review: All ten are worth ten bucks. Enjoy!

Who Gets An Oscar Nomination Tomorrow?

With a record of 78.7% accuracy at predicting nominees, here are my predictions for an Oscar race that will reward Oppenheimer with a towering 13 nominations and 10 for its summer companion, Barbie, a Mattel toy movie that is going to scoop up a two-digit tally of Academy Awards.

PICTURE
American Fiction
Anatomy of a Fall
Barbie

The Holdovers
Killers of the Flower Moon
Maestro

Oppenheimer
Past Lives
Poor Things
The Zone of Interest

Spoiler: The Color Purple
Shocker: Saltburn

DIRECTOR
Greta Gerwig, Barbie
Jonathan Glazer, The Zone of Interest
Alexander Payne, The Holdovers
Christopher Nolan, Oppenheimer
Martin Scorsese, Killers of the Flower Moon

Spoiler: Yorgos Lanthimos, Poor Things
Shocker: Justine Triet, Anatomy of a Fall

ACTRESS
Lily Gladstone, Killers of the Flower Moon
Sandra Hüller, Anatomy of a Fall
Carey Mulligan, Maestro
Margot Robbie, Barbie
Emma Stone, Poor Things

Spoiler: Annette Bening, Nyad
Shocker: Fantasia, The Color Purple

ACTOR
Bradley Cooper, Maestro
Colman Domingo, Rustin
Paul Giamatti, The Holdovers
Cillian Murphy, Oppenheimer
Jeffrey Wright, American Fiction

Spoiler: Leo DiCaprio, Killers of the Flower Moon
Shocker: Barry Keoghan, Saltburn 

SUPPORTING ACTRESS
Emily Blunt, Oppenheimer
Danielle Brooks, The Color Purple
Jodie Foster, Nyad
Jullianne Moore, May December
Da’Vine Joy Randolph, The Holdovers

Spoiler: Sandra Huller, The Zone of Interest

Shocker: Rosamund Pike, Saltburn or Penélope Cruz, Ferrari

SUPPORTING ACTOR
Willem Dafoe, Poor Things
Robert De Niro, Killers of the Flower Moon
Robert Downey Jr., Oppenheimer
Ryan Gosling, Barbie
Dominic Sessa, The Holdovers

Spoiler: Mark Ruffalo, Poor Things 

Shocker: Charles Melton, May December

ADAPTED SCREENPLAY
American Fiction, Cord Jefferson
Barbie, Greta Gerwig and Noah Baumbach
Killers of the Flower Moon, Eric Roth, Martin Scorsese
Oppenheimer, Christopher Nolan
Poor Things, Tony McNamara

Spoiler: Zone of Interest
Shocker: All of Us Strangers

ORIGINAL SCREENPLAY
Anatomy of a Fall, Justine Triet, Arthur Harari
The Holdovers, David Hemingson
Maestro, Bradley Cooper, Josh Singer
May December, Samy Burch, Alex Mechanik
Past Lives, Celine Song

Spoiler: Saltburn, Emerald Fennel
Shocker: The Boy and the Heron

INTERNATIONAL FEATURE
Fallen Leaves, Finland
Society of the Snow, Spain
The Taste of Things, France
The Teachers’ Lounge, Germany
The Zone of Interest, UK

ANIMATED FEATURE
The Boy and the Heron
Elemental
Nimona
Spider-Man: Across the Spider-Verse
Suzume

Spoiler: Teenage Mutant Ninja Turtles

DOCUMENTARY FEATURE
20 Days in Mariupol

American Symphony

Beyond Utopia
The Eternal Memory

Four Daughters

Spoiler: Still: A Michael J. Fox Movie

CINEMATOGRAPHY
Killers of the Flower Moon, Rodrigo Prieto
Maestro, Matthew Libatique
Oppenheimer, Hoyte van Hoytema
Poor Things, Robbie Ryan

The Zone of Interest, Lukasz Zal

COSTUME DESIGN
Barbie, Jacqueline Durran
Killers of the Flower Moon, Jacqueline West
Napoleon, David Crossman and Janty Yates
Oppenheimer, Ellen Mirojnick
Poor Things, Holly Waddington

FILM EDITING
Anatomy of a Fall
The Holdovers

Oppenheimer
Poor Things

The Zone of Interest

Potential snub: Killers of the Flower Moon

MAKEUP AND HAIRSTYLING
Killers of the Flower Moon
Maestro
Oppenheimer
Poor Things
Society of the Snow

PRODUCTION DESIGN
Barbie
Killers of the Flower Moon
Oppenheimer
Poor Things
The Zone of Interest

SCORE
Barbie, Mark Ronson and Andrew Wyatt

Killers of the Flower Moon, Robbie Robertson
Oppenheimer, Ludwig Göransson
Poor Things, Jerskin Fendrix
The Zone of Interest, Mica Levi

Spoiler: Spider-Man: Across the Spider-Verse, Daniel Pemberton

SONG
“The Fire Inside” by Diane Warren, Flamin’ Hot
"I'm Just Ken" by Mark Ronson and Andrew Wyatt, Barbie
“It Never Went Away” by Jon Batiste and Dan Wilson, American Symphony
"What Was I Made For?" by Billie Eilish and Finneas, Barbie
“Road to Freedom” by Lenny Kravitz, Rustin

SOUND
Ferrari
Killers of the Flower Moon
Maestro
Oppenheimer
The Zone of Interest

Spoiler: Barbie, The Killer

VISUAL EFFECTS
The Creator
Guardians of the Galaxy Vol. 3
Poor Things

Society of the Snow
Spider-Man: Across the Spider-Verse

Spoiler: Godzilla Minus One

LIVE-ACTION SHORT

The After
The Anne Frank Gift Shop
Red, White and Blue or Yellow
Strange Way of Life
The Wonderful Story of Henry Sugar

ANIMATED SHORT
Boom

Letter to a Pig
Ninety-Five Senses
Once Upon a Studio
War Is Over! Inspired by the Music of John & Yoko

DOCUMENTARY SHORT
The ABCs of Book Banning, MTV
Camp Courage, Netflix
Deciding Vote, The New Yorker
The Last Repair Shop, LA Times/Searchlight

Oasis, The New York Times

May December

In December, people’s entertainment vibes tend to be either festive (romantic comedies, holiday movies, musicals, action films) or big and bright (tentpole films like Wonka or epic Oscar bait). Ironically, May December is just the type of movie one craves in the quiet of January. I think Netflix missed on releasing this film at the wrong time and it runs the risk of not getting noticed. In the middle of the holiday excitement, I  struggled to fully enjoy this sly, slow-burning, uneasy film that explores the “grays” in people.

In this film by director Todd Haynes (Far From Heaven, Carol), television actress Elizabeth (Natalie Portman), visits tabloid couple Gracie (Julianne Moore) and Joe (Charles Melton) for her next role.

May December is mostly the story of two women and the lies they tell themselves — until the final arc where the focus shifts to Joe, a shift that elevates the emotion and depth.

The Ten Buck Review: Unnerving and undeniably well crafted.

Where to see it: On Netflix. See it in the chill of winter, not the joy of the holiday season.

Would it be better with Olivia Colman: Undoubtedly.

Award potential: Moore and Portman’s synced performances are undeniable and may cancel each other out in Oscar season, but Charles Melton is the film’s standout and most deserving of recognition. Golden Globes nominated all three actors. Its unnerving story and curious score choices should keep it out of Best Picture conversation.

The Ten Buck Review: Worth ten bucks.

Iron Claw

Similar to the electrifying atmosphere of the wrestling world, "Iron Claw" pulsates with raw energy, captivating entertainment, and raw emotion. Unlike the world of wrestling, this A24 drama is predominantly true. The narrative revolves around the six Von Erich brothers—Kevin (Zac Efron), David (Harris Dickinson), Kerry (Jeremy Allen White), and Mike (Stanley Simons)—and their wrestling dynasty during the 1970s and '80s led by their domineering father Fritz (Holt McCallany).

Writer-director Sean Durkin’s “The Iron Claw” delivers an emotional blow to those who may not know the tragic story of the Von Erich family and that’s about all I’ll say here about this Texas tale.

Iron Claw is skillfully crafted, featuring stunning cinematography and a compelling ensemble cast. (Despite Zack Efron's Hulkish transformation, which is equally impressive and distracting, similar to Bradley Cooper’s recent Maestro performance.)

However, its main drawback lies in the final stretch, where it doesn’t land the one-two punch. The narrative meanders a bit, and the inclusion of a dream sequence feels out of place, detracting from the authentic and raw story that had preceded it.

While its flaws and classic storytelling choices will probably miss the mark for Top Ten lists and award nominations, this is a solid, captivating and fully entertaining 2023 film that I recommend for almost all audiences.

In a nutshell: A film-quality true story and a solid KO for entertainment.

Where to find it: In theaters, starting December 22, 2023.

Would it be better with Olivia Colman: Of course it would.

Award potential: I think it will come just shy of picture and acting nominations, but the ensemble is strong. I would love to see a SAG ensemble nod.

The Ten Buck Review: Worth ten bucks.

Wonka

As someone who last saw Willy Wonka & The Chocolate Factory (1971) in the early 1980s and preferred the book back then, and as a film lover who never saw Tim Burton’s 2005 adaptation, it’s safe to say I was not looking for a franchise reboot. That is, until I saw that the director of the two Paddington movies, Paul King, was involved. I’m sure glad I gave it a chance.

Wonka is an unexpectedly sweet delight. King has delivered an unapologetically, old-fashioned musical treat that may be too sugary for those expecting the cynical and edgy devilishness of Johnny Depp’s recent take.

In a word, it’s charming.

Willy, a young man and chocolate maker now played by Timothee Chalamet in all his boyish sweetness, arrives in London with hopes that his confectionary treats will be discovered so that he can open his own shop. His hat is full of tricks and imaginations that come to life filling the first hour or more of the film with visual wonder, dazzling ensemble numbers and the spirit of limitless imagination.

The movie’s songs, written by Neil Hannon, move the plot along but you won’t remember any of them after this. Ironically, the film utilizes two original film songs “Pure Imagination” and the “Oompa Loompa”, which are both earworms.

I can only find criticism in that Wonka is challenged to provide more depth than an escape, and that the final half hour spends more focus on wrapping up a silly good-guy bad-guy plot.

Chalamet is a warm and winning Willy Wonka and this film surprised me. I’m not sure if this Ted Lasso-inspired goodness is a wholesome new trend or if the makers of the film have a surely dreadful trilogy planned where he starts out saintly before landing on the dark side, but I choose to think that King wanted to make a fully delightful film and succeeded.

In a nutshell: Surprisingly sweet and just the right dose of fun for a film released around the holidays. It’s this season’s golden ticket for the whole family.

Where to find it: In theaters. Opens Friday, December 15.

Would it be better with Olivia Colman: Surprise. Surprise. She’s in it (in a Miss Hannigan-type role) as is Mr. Bean (Rowan Atkinson), Mr. Carson (Jim Carter), Sally Hawkins, Keegan Michael Key— and Hugh Grant as an Oompa Loompa.

Award potential: It has the best shot at the Golden Globes which awards comedy/musical.

The Ten Buck Review: Worth ten bucks.

Maestro

Bradley Cooper's directorial debut (A Star is Born) hinted that a stellar director may have been introduced and now his second film as director and lead cements this status. Maestro shares the captivating life of legendary American composer and conductor, Leonard Bernstein, utilizing an impressionistic style that achieves a challenging task —distinguishing itself from conventional biographical films.

Maestro reveals itself in the gorgeous black and white, square aspect ratio and lush romantic style of its years before it digs deeper into the expanded, quite colorful life of Bernstein. The artistic flair continues from the symphonic emotions of early relationships to its dizzying climax that makes last year's Tar (2022) seem suddenly tame.

Cooper stars in the lead role as he did in 2018's A Star Is Born. Similarly to that film with Lady Gaga, he gives the most powerful scenes to his female co-lead, Carey Mulligan (Promising Young Woman, Drive, An Education) as actress Felicia Montealegre and wife of Bernstein. This is not a typical "wife" part as Mulligan delivers the most emotionally demanding scenes of her stellar career.

As someone who has overplayed his CD of Leonard Bernstein's New York, I was curious to learn the story of the man who brought us West Side Story's unforgettable score. Unexpectedly for me, the film takes a distinctly personal approach, delving into the intricacies of Bernstein and Montealegre's marriage. While we catch glimpses of the virtuoso in action on the podium, which Bradley Cooper tackles with fervor, I wanted a deeper exploration of the man responsible for West Side Story, Candide, and the most monumental symphonies of the last century.

That being said, and reviewing the film they decided to make, Maestro unfolds as a compelling narrative of an unsettling relationship, probing the fundamental question of what love truly is and whether various manifestations of it can unveil something transcendent.

From the sweeping youthfulness of their meet-cute to an On The Town-inspired musical flourish (that somehow Cooper pulls off) to their revelations to each other, as a Macy's Thanksgiving Parade float passes by their window, Maestro stands as an indelible portrayal of two lives intricately intertwined.

Cooper, hidden in both prosthetics and a talented transformation, is almost miscast as I found myself observing his disappearance into character and director choices for his own close-ups multiple times. Luckily, the success of the full film nullifies that critique.

In a nutshell: Cooper orchestrates this personal story with high style and a bravado performance as both actor and director.

Where to watch it: In theaters now, where it should be seen and heard. On Netflix December 20. Caution: it's not a holiday movie.

Would it be better with Olivia Colman: Of course.

Award potential: This film will do well at Golden Globes where Cooper is famously adored, but will continue on through SAG and Oscars in acting roles. Cooper's competition is tight for director when pitted against Scorsese Nolan and Gerwig — but I believe this daring vision-realized will land nominations for Oscar's Best Picture, Director, Screenplay, Actor and Actress.

The Ten Buck Review: Worth ten bucks.

Killers of the Flower Moon

As a fan of perfect two-hour movies, I do not enjoy prestige directors flexing their clout by indulging in bloated film times. Scorsese (The Irishman), Nolan (Oppenheimer), Cameron (Avatar: The Way of Water), Luhrman (Elvis) and Speilberg (Fablemans)are all guilty. So it brings me little joy to say that this film does justify its 3.5-hour runtime.

Martin Scorsese (Goodfellas, Taxi Driver, The Wolf of Wall Street) and co-writer Eric Roth (Dune, Mank) boldly take David Grann’s excellent, 2017 nonfiction page-turner and shift its focus to create an unforgettable, historic epic. 

The true story unfolds in the 1920s when White American settlers had forced the Osage people to migrate from Kansas to Oklahoma. This displacement was swiftly succeeded by a rush of oil and the emergence of a booming Osage town. However, this newfound wealth came at a steep cost, with a trail of murders and intricate conspiracies aimed at gaining control over the substantial fortune.

The original novel places its emphasis on a criminal investigation, unveiling the birth of the FBI as it gradually unravels the identity of the perpetrators with the suspense of a classic whodunit. Killers of the Flower Moon, the film, is more interested in bringing audiences right into the victimized tribal family and getting up close with the killers from the start. We see and feel the weight of these decisions.

The early neighborhood shootings and bombings recall scenes in Scorsese’s Goodfellas but as we get to know the characters, this evolved story becomes more intimate, personal and more powerful. Scorsese masterfully offers an intimate, visceral experience of how the conspiracy left an impact on individuals, families and the entire Osage community.

Additionally, give credit to Lily Gladstone (Reservation Dogs) as Mollie Burkhart. She shoulders the emotional narrative in a quiet performance that is unnerving.

 

Leonardo DiCaprio does some of his finest work as her husband, Ernest Burkhart. Robert DeNiro as William Hale and Jesse Plemons as FBI agency Tom White round out the top-notch cast.

At the core of the film lies the unsettling love shared by the Burkharts. Lily was always aware of wolf Ernest's ulterior motives, driven by avarice for her wealth, however, their deep affection for each other endured. 

In a chilling moment, when presented with an opportunity for honesty, Everett remains silent, betraying her fully and setting the stage for the film's climactic act. This bold and boffo conclusion avoids a clichéd courtroom scene, redefining Scorsese as a more contemporary filmmaker than his recent work implies.

Not that it matters. He's Martin Scorsese and this is both masterful moviemaking and also one of the finest films of the century.

In a nutshell: A masterpiece. Despite approaching four hours, it feels like two. I’d see this one again.

Where to see it: In theaters now; see it on the big screen.

Would it be better with Olivia Colman: Of course.

Award potential: All major categories for a large tally of nominations. Except editing.

The Ten Buck Review: Worth ten bucks.