NOTE: It’s actually Every Oscar Nominated Film this Year…*Minus One, as Cutting Through Rocks is still entirely unavailable to watch, but will be added once I see it*

Also, a few of these films have swapped rankings since I posted by Top 10 of the year after rewatches! Anyone that’s kept up might notice.

As I must clarify every year, this is just a ranking of the features, both for the reasons of not being able to catch up with the shorts (or really trying) and also as I feel it is a bit unfair and difficult to rank nominees that are 15-25 minutes long against films that are nearly 3 hours. If ever there comes a year that I do watch all of the shorts, I would likely rank all 15 together rather than in a batch of 50. So without further ado…

1.) ONE BATTLE AFTER ANOTHER (Paul Thomas Anderson)

Paul Thomas Anderson’s magnificent epic is a breezy, hilarious, provocative, pulse-pounding thriller as much as it is an ode to parenthood and the road we wave forward for the next generation. An instantly memorable ensemble of characters, loathsome villains, a nerve-wracking score by Jonny Greenwood, and a car chase sequence for the ages, Anderson packs a full-course meal’s worth of movie into one of his more personal works to date.

2.) SENTIMENTAL VALUE (Joachim Trier)

Of the two big “exploring therapy through art” films, Joachim Trier’s snuck up on me the hardest through its impressively-detailed “so many stories happened in this one house” setting and its quieter character moments. Fractured family narratives often provide excellent baggage to the traditional adult drama, and Trier’s nuanced script and superb cast understand that the usual “shouting feelings” approach doesn’t cut as deep as what isn’t said at all and what has to be deciphered through literal storytelling. Stellan Skarsgård gives career-best work as the filmmaker father unsuccessfully attempting to reconnect with his adult children.

3.) THE SECRET AGENT (Kleber Mendonça Filho)

Kleber Mendonça Filho’s 1970s paranoid thriller is incredibly dense in its balancing of characters, side plots, and allusiveness of the truth, but running deep in its veins is the beautiful theme of preservation. A slow-burn but riveting narrative injected with a gorgeous use of 1970’s cinema techniques. Wagner Moura is an alluring and magnetic lead. A fascinating comparison, exploring the preservation of historical truth through fiction with a medium that is always begging for preservation.

4.) MARTY SUPREME (Josh Safdie)

Josh Safdie’s fascinating, hilarious, anxiety-inducing, and boldly original pseudo-biopic loosely based on the life of Marty Reisman (in the film, Marty Mauser) is a mighty directorial achievement, starring Timothee Chalamet in his greatest role to date. Chalamet’s career has been the stuff young actors can only dream of, and as much in the pursuit of greatness as his character, he fully disappears into Mauser and commands the screen with immense charm and motormouth persuasion despite delving into truly despicable behavior. 

5.) SINNERS (Ryan Coogler)

Ambitiously filmed in 65mm on IMAX and Panavision formats, Coogler’s untethered vision juggles a large thematic plate and makes a meal out of it. It’s brilliantly assembled ensemble cast gets to have a ball floating through its mashup of genres, some even put to work musically. Ludwig Goransson’s soundtrack is one for the ages, an exemplary collection of sound that encompasses entire centuries worth of music into one harmonious celebration its historical importance and the strong bonds of community throughout time. As much a live-wire concert as it is a soulful exploration on brotherhood, cultural empowerment, and true appreciation of freedom.

6.) HAMNET (Chloe Zhao)

Jessie Buckley and Paul Mescal give towering performances as our two leads, whose seemingly-unshakable love suddenly strains after unimaginable circumstances. Buckley is the main focus here, breathtaking, emotively complex, and carrying most of the heavy weight of the film on her shoulders. Zhao’s direction is beautiful, empathetic, and languid paired perfectly with Lukasz Żal’s lush camerawork. While its open-heartedness may be an eye roll for the more stoic viewer, Hamnet will leave many in a puddle of tears by the end but also comforted in the intense, forgiving power of love. 

7.) WEAPONS (Zach Cregger)

Zach Cregger’s startlingly original thriller wowed audiences back in August, the tale of an entire classroom of children missing overnight and the various perspectives within the community attempting to piece everything together. Cregger’s script is filled with goosebump-inducing horror as much as it is unexpected laughs. A plot that is hiding much more under the surface than it leads on while surprising you at every corner.

8.) BLUE MOON (Richard Linklater)

Richard Linklater’s best of two great films in one year (the other, Nouvelle Vague) is a deeply touching ode to songwriter Lorenz Hart, the admired but often forgotten original partner of Richard Rodgers of Rodgers and Hammerstein. An incredibly wordy, play-like script stays almost entirely contained to the soothing, warmly lit interiors of Sardi’s impressively details the wide variety of conflicts, passions, and reflections in Hart’s life through highly entertaining conversations. Ethan Hawke is flawless as Hart, brash and enchanting, holding your attention in every moment, always keeping you locked in with every word. 

9.) IT WAS JUST AN ACCIDENT (Jafar Panahi)

Panahi’s latest thriller is exceptionally intense practically the entire runtime, but his sense of humor feels like a breeze when deployed. The tone on display is a razor-thin line between dark truth and amusement. The startling script and Panahi’s distant camera keeps the story brimming with hyper-unease, but it all moves at a brisk pace, even despite lengthy one-shot argumentations. The final 15 minutes of the film are expertly cathartic and yet also unsettling, lingering long after the credits roll. The perfect dark and poignant crescendo that also emphasizes the damage done can never be undone.

10.) BUGONIA (Yorgos Lanthimos)

Yorgos Lanthimos and Emma Stone team up once again for this darkly funny, pitch-black adaptation of the 2003 Korean sci-fi comedy Save the Green Planet. Stone is at the top her game, commanding and mysterious, constantly keeping us guessing what is the truth, while a greasy-haired Jesse Plemons expertly channels the depravity of the terminally online incel, keeping her chained in his basement. Perhaps it has a fairly obvious point to make about humanity in the end, but the build-up is nevertheless wildly entertaining, bizarre, and lusciously photographed by Robbie Ryan.

11.) THE ALABAMA SOLUTION (Andrew Jarecki, Charlotte Kaufman)

This horrifying six-year investigation into the abuse and poor living conditions of incarcerated men in Alabama is a harrowing expose, absolutely devastating in its plea for humanity. An aching experience that reveals how unlimited the depths of soullessness infecting the country’s prison system truly are. A miracle that this footage was able to make its way in and out of these walls.

12.) IF I HAD LEGS, I’D KICK YOU (Mary Bronstein)

Rose Byrne delivers what is arguably the greatest performance by any actor this year, harnessing all of the raw weight of the impossibility of motherhood on her shoulders. Mary Bronstein’s viciously comedic but impressively soul-draining direction keeps the camera on Byrne through its entire stress-inducing exercise, but its dramatic effect is so singular and empathetic, it’s impossible not to be wowed. As truly painful to watch as it is mesmerizing.

13.) THE VOICE OF HIND RAJAB (Kaouther Ben Hania)

Hania’s blend of real documentary artifacts and actor reinactments work as well here as they did in her documentary Four Daughters, but with an even more heartbreaking and vital story at its center. A brisk but heart-pounding and soul-shattering 80 minutes honoring the final hour of 6-year old Hind Rajab’s life as she communicates over the phone with the reenacted portrayals of rescuers at an emergency call center trying to get her to safety. It may feel like an ugly gimmick to some, but Hania’s respect for Hind Rajab in honoring her own real voice is as noble as it is daring.

14.) TRAIN DREAMS (Clint Bentley)

Bentley and cinematographer Adolpho Veloso concoct arresting woodland imagery, vintage photographs of a time long gone. Bryce Dessner (of The National) perfectly pairs it with a soothing symphonic sound. Joel Edgerton is magnificently gentle as Grainier, the perfect empathetic vessel to take us on this emotional journey. These elements, along with the warm narration by Will Patton, elevate Train Dreams in being the beautiful ode to what we get from the world and what we leave behind long after we’re gone. 

15.) THE PERFECT NEIGHBOR (Geeta Gandbhir)

Stitched together entirely by police body cam footage, this gut-wrenching true case is just one example of how Florida’s idiotic “Stand Your Ground” law caused an entirely preventable death, rooted in both sickening racism and poorly managed mental health. Impossible to finish this without a dry eye, even if it at times plays more as your average Netflix true crime doc than a rich exploration of this maddening epidemic.

16.) THE UGLY STEPSISTER (Emilie Blichfeldt)

Norway’s twisted reimagining of Cinderella, packed with delectable artistry and (literal) toe-curling body horror has a joyous time tainting the traditional tale. While not quite all-out-extreme in its bloody torture, it still offers enough delightfully painful jolts and squeals and feels oddly truer to a Brothers Grimm text than any prior adaptation. Its audacious costume design and set decoration is also a real bonus.

17.) KOKUHO (Sang-il Lee)

With its deeply respectful and richly-interpreted exploration of mid-20th century Japanese Kabuki theatre, this three-hour dramatic epic is far more engaging and enchanting than you may expect. Dazzling cinematic design in every frame, this generational story is a familiar, but engaging tale of two young aspiring performers competitive of both a father figure’s approval and their own career ambitions, as well as facing their own complicated demons.

18.) COME SEE ME IN THE GOOD LIGHT (Ryan White)

A moving and tender documentation of what might have been the last moments of life in poet Andrea Gibson’s life as they face their own mortality with the support of their wife Megan Falley. A tough exploration of a very serious cancer diagnosis, Ryan White’s film focuses heavily on the joy of life, love, and finding new appreciation for even just the joy of getting to breathe and find every day calm. A simple, but emotionally effective love story.

19.) FRANKENSTEIN (Guillermo del Toro)

While much of the film’s teachings can feel overwrought and saccharine, Jacob Elordi shockingly makes it work. It’s a very different interpretation of the literary monster from the great Guillermo del Toro (and a far more handsome one) than what has ever come before, but it also feels truest to the original text. While it’s a bit clobbering thematically, enough of it works as a genuine spectacle. A sumptuous and earnest artistic triumph that is far from perfect, but much like the creature itself, is assembled with so much passion, it’s hard to not appreciate.

20.) MR. NOBODY AGAINST PUTIN (David Borenstein)

Not among the best or most memorable of this year’s Russia documentaries, though the one that got the nomination in the end, Mr. Nobody still lands a brave, resilient punch. Borenstein’s maddening profile of former schoolteachel Pavel Talankin, who cleverly documented his school’s descending politics under the authority of Vladimir Putin, is a wide-eyed look at how easily a government can alter and manipulate its youth into so-called patriotism.

21.) LITTLE AMELIE, OR THE CHARACTER OF RAIN (Maïlys Vallade, Liane-cho Han)

Gorgeous, bright 2D animation brings to life the fantastical imagining of a toddler’s interpretation of growing up and understanding the world. Small in terms of storytelling (only 78 minutes!), but large in stunning artistry, it’s as amusing and adorable as it is heartfelt.

22.) AVATAR: FIRE & ASH (James Cameron)

This is guaranteed to the be the most divisive chapter. Not just because of where Cameron “gets weird with it” (and he does “get weird with it”, whale courtroom trials included), but where his audience may decide to finally draw the line. As someone who felt The Way of Water was not only a step-up from the original, but one of the best blockbusters of the modern era, slight disappointment in this third chapter does not pass below the barrier of enjoyment. Sometimes spectacle is good enough, as films were literally invented to be, as long as expectations are in check. Years from now, further viewings of Cameron’s “throw everything at the wall” sequel will just become three-and-a-half hours of pleasurable nonsense.

23.) ARCO (Ugo Bienvenu)

Fascinating concepts and a wondrous score elevate an emotionally-limited sci-fi animated tale of a time traveling child trying to return home. A few of its character designs may teeter on the side of unappealing, as does its American voice cast in its English dub, but as a colorful and innovative hand-drawn spectacle, it’s impossible to not be wowed at least a little.

24.) ZOOTOPIA 2 (Jared Bush, Byron Howard)

A step down from its modern-classic Oscar-winning predecessor only due to a sense of reheated goods and familiarity, this caper sequel’s messaging of suppressing minority groups within an ecosystem is shockingly potent and timely. On top of that, Bateman and Goodwin slide back into their duo roles with comfortable ease and the animation and world-building is, once again, splendid.

25.) ELIO (Madeline Sharafian, Domee Shi, Adrian Molina)

Not the only “Frankenstein” movie this year, as this outer space adventure was visibly altered and restitched over a delayed production timeline, impossible to know what was improved in the process and what was sadly lost from one of its three directorial visions. The result is a perfectly fine animated PIXAR adventure that is cute and funny enough, though lacking depth and distinction. Another example of PIXAR’s new era of slightly-passable fare for kids.

26.) THE LOST BUS (Paul Greengrass)

Overlong and lacking a stronger emotional punch, Paul Greengrass’ latest true story thriller is still, at least, impressively well-made and features a commanding performance from Matthew McConaughey in the literal driver’s seat. Easy to dismiss how good the visual effects are when you don’t even notice how much of this was crafted entirely by computer.

27.) SIRAT (Oliver Laxe)

A brutal trip through the desert with a rag-tag group of ravers soaking in every ounce of life they may have as they literally drive through hell (but not back). Concocts an intoxicating yet sweat-inducing world, orchestrated by powerfully thumping stereo amps, before making a truly shocking, gut-wrenching choice in its second act. From there, the movie peaks in terms of impact, and crawls to a tense, but unforgiving finish. It’s ruthlessness is the point, but it leaves an empty feeling by the time the credits roll instead of anything truly worth chewing on. Perhaps it needs a rewatch still with a better sense of its intentions, but I was just ready to like it so much more.

28.) VIVA VERDI! (Yvonne Russo)

A quaint and charming little documentary about former artists enjoying retirement in a specially-suited housing community for opera singers. Key members highlighted are great guides into the world of opera and keep its very brief runtime flowing with humor and heart. It’s a bit too slight to really make an impression, but it’s closing moments are unexpectedly moving in its delicateness and remembrance.

29.) F1 (Joseph Kosinski)

Exceptionally well made blockbuster that, much like Kosinski’s Top Gun: Maverick, harkens back to the old school cinema spectacles of a lost time. Brad Pitt oozes movie star charm and Damson Idris is a great young foil. Its problem, though, is it’s far too long and repetitive, cycling over the same beats and round-and-round action sequences for a daunting 155 minutes without any narrative surprises or originality. A baffling Best Picture nomination that seemed to only break through due to the sport’s international popularity and a lack of big-budget crowdpleaser options.

30.) JURASSIC WORLD: REBIRTH (Gareth Edwards)

The latest Jurassic film in this endless franchise chooses to play it small and safe, fast and loose, and for better and for worse, it’s completely harmless. It never strives for greatness nor does it understand its potential. It’s quite easily the best of the titular Jurassic Worlds, but is that saying much? Would this have felt better and more fresh had that prior trilogy not existed and dragged itself into the mud? Mindless satisfaction is perhaps the best this film can achieve. Utterly forgettable as a whole package, but easy on the eyes.

31.) K-POP DEMON HUNTERS (Chris Appelhans, Maggie Kang)

A gorgeously animated, but narratively bland phenomenon that, to this day, is still taking the world by storm. A real “I’m glad you guys are all having fun” experience for me, that works less as a movie than just one big extended music video. Half-baked ideas, undercooked humor, overly reliant on its chart-topping soundtrack to carry the plot. A few songs do pop, and it’s a real pleasure to look at, but there’s just nothing else there.

32.) DIANE WARREN: RELENTLESS (Bess Kargman)

A tough viewing experience that can’t decide if it wants to make fun of Diane for how badly she wants gold and for her everyday eccentricities or make us pity her for her troubled childhood and career struggles. A glossy profile of a notoriously talented and currently-divisive figure in Hollywood that is totally acceptable slop to enjoy over a full glass of wine, but hard to take seriously as an ode to her life. Still, it’s far more watchable than most of the films Diane Warren has written songs (and been nominated) for because at least it’s shamelessly about her.

33.) THE SMASHING MACHINE (Benny Safdie)

While successful in depicting the intense art of MMA, clearly aided by the guidance of people involved in front of the camera, the film is also one big two-hour headache. Safdie overloads the music cues and adds an abrasive score by Nala Sinephro, which intentionally clangs and crashes with every hit. Scenes have no smooth transitions, skipping over key storytelling. Yes, it does purposefully avoid traditional sports biopic conventions, but it avoids them to a fault, leaving the film feeling like an empty experience. Audiences will leave the film talking about Dwayne Johnson, Mark Kerr will be an afterthought.

34.) SONG SUNG BLUE (Craig Brewer)

Song Sung Blue starts out charming, and almost works as a film about the process of music collaboration, especially in the early scene of Mike and Claire’s first practice together, but the rest of their story is portrayed phonier and phonier as it goes on, playing the audience’s heartstrings like it plays the old-reliable hits. It will work for the easy-criers and those that just want the “nice option” at the movies this Christmas. But for the rest, it’s just a false note played over and over. 

PLACEMENT TO BE DETERMINED: CUTTING THROUGH ROCKS (Mohammadreza Eyni & Sara Khaki)

Thoughts on these films? Rankings of your own? Comment below! Thanks for reading!