10 Movies to See Before the Oscars
Two Midwestern Movie Lovers telling you everything you need to know!
Who is Abigail?
Hi! My name is Abigail Oakley. I am a recent grad with a degree in English and the soul of a movie critic. While my professional life revolves around books and education, my free time is all about movies. Living in the Midwest as an avid movie watcher can be very difficult. I often have to scour the internet to find a theater showing the movies I want to see. I use this lens as a girly too pretentious for her own good in a desolate movie landscape to review movies and books and reflect on the life of the media obsessed. You can read my reviews and essays at Just A Midwest Media Girl!
Who is Maggie?
Hi everyone! My name is Maggie Otradovec, and I am a recent grad with a degree in film and a career in hopping around film sets. I moved to New York last fall and have spent every free moment I have watching new movies, watching old movies and generally obsessing film itself. I use my years of writing papers on film analysis to review new movies from the dual perspective of a scholar and a Letterboxd addict. You can read my reviews at Maggie Mansplains Movies!
How did we meet?
We met while studying abroad together in Paris in Fall of 2022. While abroad, we were in the same French Film class and bonded over love of film and the deeply hilarious antics of our study abroad program. Two years later we both started substacks and thought it would be fun to team up for a joint movie slay!
Wicked directed by Jon M. Chu (Abigail)
As a theater girly, Wicked made me very nervous. However, it managed to exceed the expectations of many – myself included. This movie captured the essence of the original musical that made it so special. There is magic, humor, beautiful music, and great performances. Ariana Grande absolutely floored me with her humorous, yet nuanced performance. Cynthia Erivo remains one of the most talented singers of our time. While there were things I did not love – some of the CGI looked foul, it was a little desaturated, and the editing choices left something to be desired – the cultural moment of Wicked cannot be understated. It is not a perfect movie, and it should not win Best Picture, but it is a solid movie musical that stays true to its material.
Emilia Perez directed by Jacques Audiard (Maggie)
To put it simply, I hated it. My hatred of the films grows everyday. I wake up in the morning and ask myself “why?” I’ll admit it’s a beautiful, generally well-made film, with a great performance by Zoe Saldaña, who does her best given the circumstances. However, that’s all I’m willing to give it. How a movie with a song that quite literally goes “penis to vaginaaaa” wins awards over the phenomenon that is Wicked, I will never know. I have the utmost respect for experimental films, but the experiment failed and you have to accept that. Shoving Emilia Perez in our faces will not make us like it more. On top of all of that, recent controversies have seemingly removed the rose-colored glasses critics seemed to have on…who knows what will happen.
The Brutalist directed by Brady Corbet (Abigail)
It is so hard to put into words how I feel about this movie. It looks amazing. The performances are incredible. The score gave me goosebumps. The Brutalist had been hyped for me so much that I was worried it would fall short, but it was honestly more affecting than I expected. Adrien Brody deserves his many accolades as both the emotional center of the film and its guiding force. I was all for Timmie getting his Oscar, but after seeing this film I have to reconsider. Brody is on a completely different level. Guy Pearce is also incredible and unsettling in his portrayal. The story itself is a familiar one. It resembles the popular American Dream sentiment but turns that idea upside down to create something singular. I concede to Sean Fennessey and the Brutal Boys that they may have been right about this one.
A Real Pain directed by Jesse Eisenberg (Maggie)
I am not a crier. I can count the movies that have made me cry on one hand. A Real Pain almost joined this exclusive club. Heartbreakingly wholesome and brutally honest with its blunt comedy, the film pays tribute to all those affected by the Holocaust, reminding us that it this piece of history was a lot more recent than it seems, and that these themes have not completely left us. I experienced a whole range of emotions throughout this viewing, which can 100% be attributed to Kieran Culkin’s performance. While I’m convinced he plays himself in every role, I’m not complaining in the slightest. He is the complete and utter heartbeat of the film, and has earned his Oscar nomination, if not even a win. As one of my favorite films/performances of 2024, you can be sure that I’m rooting for it.
Nickel Boys directed by RaMell Ross (Abigail)
Have you ever seen or read something and realized you may be witnessing history? That is how watching Nickel Boys felt. The story and performances are amazing, but the shooting style and editing are entirely unique. Director RaMell Ross developed the idea of using first-person perspective so that each shot looks as if it is directly what the character would be seeing. The focus shifts like human eyes and we often do not see the speaker or the main action. This method is jarring at first, but eventually, as your eyes adjust, it feels profoundly personal. Instead of watching as a fly on the wall, Nickel Boys invites us to experience its events like memories from the people who experienced them. I have no doubt this film will be looked back on as revolutionary for the medium.
A Complete Unknown directed by James Mangold (Maggie)
If musician biopics have zero fans, I am dead. A Complete Unknown is basic, formulaic and pretty predictable, but I still had a great time watching it. I actually found it harder to not sing along to these classic songs than I did while watching Wicked (is having had a massive Bob Dylan phase in high school a red flag? Oh well!). To say you leave the theater with a better understanding of who Bob Dylan is would be a lie, but that’s the point…he is “a complete unknown.” The film is less about him as an individual, and more about how he moved within and ultimately disrupted and revolutionized the music industry of the 1960s. Themes of the film eerily reflected those of life today…maybe that’s a political commentary, or maybe that’s just because I enjoyed seeing what my new city looked like sixty years ago. And I’d be remiss to not mention Timothée Chalamet’s hilarious, frat boy-esque Oscars campaign (ie. his Brittany Broski appearance, his double duty SNL gig and, of course, his random appearances at college football games, etc).
The Apprentice directed by Ali Abbasi (Abigail)
*Sigh* I guess I have to talk about Donald Trump. That is not something I wanted to do, but Sebastian Stan’s and Jeremy Strong’s Oscar nominations have necessitated it. The movie itself is okay. It’s not groundbreaking, and it doesn’t tell us anything new about Trump. The most interesting thing about the movie is how it developed in the cultural consciousness. When it came out in the fall, many people felt like it was poorly timed. The liberal base this movie targets was not interested in giving Trump any kind of platform, flattering or not. However, since his recent win and inauguration, the appetite for character analysis has grown. That appetite allowed Sebastian Stan and Jeremy Strong to sneak into the Oscars race. Both are very worthy performances that deserve recognition, but the cultural significance the nominations represent may overshadow them.
Conclave directed by Edward Berger (Maggie)
Mmmmm this brought me right back to Catholic school. More specifically, to watching the live coverage of the choosing of Pope Francis instead of learning Spanish or math in elementary school. I suppose I appreciated that nostalgia, but I really appreciated the cinematography. There were many times where I physically sat up in my movie theater recliner because the shot was so stunning. However! Beauty alone does not make a great movie. Overall, I was pretty underwhelmed, mostly because it was boring. The entirety of the movie is Ralph Fiennes running around accusing everyone of having ulterior motives and everyone calling him a hypocrite in response because how else do you else do you handle a nosey nelly? Despite all his sleuthing, Lawrence (Fiennes) does not guess the final twist of the film, and, frankly, neither did I because it was super random and unrealistic. It was the final nail in this overly pretentious coffin.
The Substance directed by Coralie Fargeat (Abigail)
I am absolutely not a horror movie gal, but I had to admit that this was fun, well-crafted, and had an excellent performance by Demi Moore. The combination of muted and electric colors added to the immaculate vibes of this movie and managed to make something disgusting into something oddly stylish. The commentary on aging and misogyny was not the most complex, but the way it was used made for a thrilling watch. I didn’t think it was groundbreaking, but it was certainly unique.
Anora directed by Sean Baker (Maggie)
MY! BABY! BEST MOVIE OF THE YEAR, AND I WILL DIE ON THAT HILL! Anora (similar to A Real Pain), proves how even a simple, low budget film can pack a massive punch. And by “massive punch,” I mean I sat in silence in my seat for a full five minutes after the movie ended just processing it all. Shockingly unique from previous Best Picture nominees, Anora perfectly handles the themes of human relationships, class and power dynamics through the lens of sexual promiscuity. Anora attempting to defend her self-worth while being judged and attacked (both mentally and physically at times) is heartbreaking and so so important. Mikey Madison is flawless and captivating as her character tries to maintain control in Baker’s winding narrative. But there are no winners in this warped Cinderella story, and that is what makes this film so perfect and real.
THE END!
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The midwestern movie girlies KNOW WHATS UP!!