-OPINION-
So… The Oscars happened over the weekend—I didn’t watch it. In fact, I didn’t even know it was happening until the day after (March 2nd? Who knew?). I was pretty much caught up on all the winners by March 3rd. I mean, I’m a huge movie fan and love analyzing fiction, so I thought, “Hey, why not dive into this whole Oscar thing for a minute?” I figured I could share my thoughts on the films that were nominated and the big winners, and explore why, honestly, most of us just don’t care about The Oscars anymore.
I haven’t seen every single nominated film, but I’ve watched a good chunk of them. Can’t really speak on the ones I missed, but here’s what I did catch: Anora, A Real Pain, Conclave, Emilia Peréz, The Substance, Wicked, A Complete Unknown, and Inside Out 2 (But let’s be real—I’m not even gonna touch on that one. It’s just an Inside Out sequel, not much to say there). So, I thought I’d share my thoughts on the nominees, and why, honestly, most of us just don’t really care about The Oscars anymore.
-THE FILMS-
ANORA
Alright, let’s kick things off with the big winner of the night—the one that admittedly cleaned up a lot of the nominations, including Best Picture: Anora. Sean Baker’s latest film really took the spotlight this year. Not only did it snag Best Picture, but it also won Best Director for Sean Baker, Best Leading Actress for Mikey Madison, Best Supporting Actor for Yura Borisov, Best Original Screenplay, and Best Film Editing. Honestly, I was pretty shocked by how many awards it walked away with. I definitely didn’t see the Best Picture win coming. Sean Baker is obviously a talented guy, but Best Director? That caught me a bit off guard. However, I did predict Mikey Madison for Best Leading Actress—though I was kinda hoping Demi Moore might snag it for The Substance (but we’ll get to that later). Yura Borisov winning for Best Supporting Actor was also a surprise, and while the film’s Best Screenplay win was a bit of a shock to me, I’ll admit—it’s a solid script. As for Best Film Editing? Honestly, I don’t really care about film editing so I didn’t even know which film would win that, so I can’t say I was all that invested for the category.
So, the real question is—did I like Anora? Did I hate it? And honestly, the answer is... I thought it was okay. It wasn’t the best movie I’ve ever seen, but I do appreciate Sean Baker’s artistic style. The way he writes his scripts, the way he shoots his films, the overall look—that I dig. And let’s be real—Mikey Madison absolutely crushed it. But, yeah, I’ve got some pretty conflicting feelings about the film. So, let’s dive into it.
So, like I said… Anora is just—fine. It’s not the best film I’ve ever seen, but there’s something about it that’s pretty interesting. I have to admit, I’m not totally on board with some of the themes, especially when you consider Baker’s previous work like Tangerine and Red Rocket. Those films pretty much glorify the world of sex work, and that’s not something I would ever promote. But, here’s the thing — Anora is a little more subtle in the way it presents that world. And because of that, I found myself liking it a bit more than I expected.
Let me start by saying that I’m a sucker for films that are symbolic and leave a lot up to interpretation. I’m all for ambiguity in storytelling, and Anora does that in a way that I can appreciate. Like, there’s a lot to unpack here. You don’t get a neat little bow at the end of the film, and that’s actually something I personally liked. It’s not trying to tell you exactly what to think or how to feel about Ani, the lead character, or the situations she gets into. You can draw your own conclusions, and that’s always refreshing. Honestly, I think that’s what makes Anora stand out a bit more than some of Baker’s other work, which can sometimes feel a little too heavy-handed with its message. Here, it feels more like the film’s letting you decide what’s really going on with Ani and her journey.
But, let’s be real for a second — the theme of the film? Yeah, it’s probably one I don’t agree with. It’s the whole idea of romanticizing sex work and the relationships that come with it, and I’m just not sold on that. I think Baker’s previous films like Tangerine and Red Rocket really tried to make sex work seem like this empowering, almost glamorous thing, and that’s not a narrative I’m ever going to be on board with. So, coming into Anora, I wasn’t sure how I’d feel about it because I really didn’t want to see that same kind of glorification of a really tough and damaging lifestyle. But in Anora, it’s a little more complicated. The film doesn’t paint Ani as this perfect victim nor this empowered figure. She’s flawed, she’s troubled, and she’s trying to find her way out of a situation that isn’t good for her. That’s what I appreciated about the film: it doesn’t make her into a hero or a martyr. She’s a real person dealing with real consequences, and that feels a lot more honest than just making everything seem okay.
Now, the acting—and, of course—Mikey Madison, who plays Ani, absolutely crushed it. She brought so much depth to this character, and I think that’s a huge part of why the film worked for me, even if the story didn’t blow me away. She’s incredible at showing Ani’s inner turmoil and the way she’s trying to navigate her relationship with Vanya and all the other forces around her. Honestly, if it wasn’t for Mikey Madison’s performance, I don’t think this film would have worked nearly as well as it did. She really brought that raw emotion and complexity that the character needed, and I think she’s the reason you’re able to stay invested in Ani, even when she’s making decisions you don’t necessarily agree with.
As for Sean Baker’s style — I’ve always been a fan of the way he portrays people on the fringes of society. His films aren’t afraid to dive into uncomfortable territories, and I respect that about him. Anora doesn’t shy away from the gritty, harsh reality of Ani’s life, and I appreciate how Baker gives us a realistic, albeit uncomfortable, look at her situation. It’s messy. It’s uncomfortable. And that’s part of the point. But, that said, I still don’t think this film was meant for me—someone who’s more critical of sex work. I mean, again, Tangerine was about two transgender strippers and Red Rocket was about a struggling porn star, so, safe to say that Anora wasn’t meant for someone like me. I think Anora is better in a lot of ways, but it’s still not a film that really worked for me. The symbolism is strong and it’s ambiguous enough for someone like me whose critical of sex work to derive your own interpretation of the film, and I think it adds an interesting layer to the movie, but at the end of the day, it didn’t quite hit the emotional depth that I was hoping for.
So, to wrap it all up — Anora is a fine movie. I’m not going to be singing its praises or anything, but I also don’t think it’s a bad film. The themes? Yeah, probably not something I agree with, but it’s presented in such an abstract, ambiguous way that you can sort of take from it whatever you want. It’s not trying to shove a message down your throat, and I think that’s why I ended up enjoying it more than I expected. Mikey Madison’s performance is amazing, and Baker’s direction is strong as always, but ultimately, it’s still just okay. It’s not a game-changer for me, but I can see why some people might really connect with it. So, if you’re into Sean Baker’s work or if you like films that make you think and leave you with a bit of an open-ended conclusion, Anora might be worth checking out. But, for me? It’s just alright.
A REAL PAIN
Moving on from Anora, I also watched A Real Pain. Now, this film got nominated for two Oscars: Best Supporting Actor for Kieran Culkin which I believe he ended up winning, and was also nominated for Best Original Screenplay. Both of these were a surprise to me even if Culkin did do a decent job, but I was more-so completely shocked by the Best Original Screenplay nomination. Spoiler alert: I didn’t like this movie at all, so my jaw dropped when I saw it was nominated for having the best screenplay.
Now, this movie had so much potential, but honestly? It was just so slow. Like, painfully slow. I don’t know how else to put it, but this film had me discreetly checking the time on my phone in the middle of the theatre so many times because it felt like it was dragging on forever. The pacing was just not it for me. And look, I get that the whole point is for the film to be a quiet, introspective journey, but seriously, there’s a fine line between taking your time to explore deep themes and just... dragging things out to the point where nothing feels like it’s actually happening. If you’re looking for a movie that makes you feel like you’re getting through an airport terminal in real-time, A Real Pain might be the film for you.
First off, the premise is interesting enough. You’ve got these two cousins, Benji and David, who are completely different from one another — one’s free-spirited and the other’s more reserved and pragmatic. They go on a Holocaust heritage tour through Poland, and there’s clearly a lot of emotional baggage between them. That’s all well and good, and it should be the foundation of a really interesting character study, right? The thing is, it just doesn’t go anywhere fast enough for me. It’s the classic “slow burn,” but, unfortunately, it’s just a burn that really doesn’t ignite.
The whole movie kind of plods along as Benji causes disruptions throughout the trip with his impulsive, blunt behaviour. I get it — he’s supposed to be this messy, emotionally raw character. But watching him argue with his cousin David, watching him make uncomfortable remarks to the group, and seeing him make decisions that don’t really go anywhere... it just felt like it was taking forever for us to get to anything meaningful. Honestly, I found myself zoning out. Like, yeah, Benji’s acting out for the millionth time, and yeah, David’s frustrated for, again, the millionth time. It was a bit comedic in the beginning, but after the first couple of incidents, I’m just thinking, “Okay, can we move on now?”
I’ll give credit where credit’s due though — the performances were solid. I don’t love the characters, but I can’t deny that the actors did a great job of portraying the tension between the two cousins. The chemistry between the two leads, Benji and David, is palpable, and it’s obvious they both carry a lot of unresolved feelings. But here’s the thing: the film relies way too much on their internal struggles without giving us much to really hold onto emotionally. I didn’t care enough about their relationship or their baggage because, frankly, the film takes so long to unfold that by the time we get to the emotional beats, I was too exhausted to feel much of anything.
There’s also this constant back-and-forth between Benji’s wild unpredictability and David’s uptight, reserved nature, and while it’s clear they’re meant to balance each other out, it honestly just made the movie feel like it was stuck in a loop. Every scene feels like it’s repeating the same dynamics over and over. And while I understand that’s kind of the point — showing how these two men can’t really communicate without clashing — it didn’t feel like enough was changing or developing to justify the slow pace. I mean, this movie is only 1 hour and 29 minutes—that’s pretty short. But, damn, it felt like it was the length of Oppenheimer for me.
And let’s not even get started on the tour group itself. Sure, you’ve got some quirky characters in the group—Mark and Diane, the retired couple, Marcia the recent divorcee, and Eloge, the survivor of the Rwandan genocide—but they mostly just feel like background noise. None of them really get enough development for me to care. We’re stuck in the same few settings with the same few people, and it starts to feel like they’re just there to fill up space.
Now, as for the film’s themes — I’m not gonna lie, it’s hard to completely ignore them. I mean, the movie deals with some heavy stuff: grief, mental health, and complicated family dynamics. But even with those weighty themes, the way the film paces itself doesn’t give me enough time to get invested. I know it’s supposed to be deep and introspective, but in the end, I just couldn’t connect to these characters the way I wanted to. And that’s frustrating because it’s almost there. You almost feel something for David and Benji by the end, but the movie takes so long to get to that point that by the time it finally does, you’re left thinking, “Was it worth it?” And like Anora, the film has a quite abrupt ending, but since the pacing was so slow and the film felt like a boring monologue with nothing entertaining happening, it didn’t work at all.
Overall, A Real Pain is a movie that’s trying to say something important, but it takes forever to get there. If you’re someone who loves films that take their sweet time and are fine with a pace that would make a sloth look fast, then you might find something to appreciate here. But for me, I just couldn’t get past how boring the film was. It’s like, you’re just watching these two guys struggle and fight over and over again, and there’s not enough progression to really keep you engaged and the abrupt ending just made it feel like it was all for nothing (and that’s coming from someone who loves abrupt endings). I wanted to care more about their relationship, I really did, but the pacing just killed the vibe for me.
So, yeah, this movie was a real pain to sit through. I appreciate what it was trying to do, and I’ll give credit for some solid performances, but overall, it was a slog. Not the worst thing I’ve seen, but definitely not something I’d be recommending. Slow, boring, and just not really worth the wait.
CONCLAVE
All right, so, with A Real Pain out of the way, we have Conclave... where do I even begin with this one? I’ve used this space plenty of times to call out films that are disrespectful toward Christians and their beliefs, and unfortunately, Conclave is just another one of those films. And honestly? It’s a weird one. A really weird one. The movie tries to take this heavy, serious look at the election of the new pope, but it goes off the rails in the most bizarre and preachy ways. It’s like the filmmakers just couldn’t resist injecting modern issues and social agendas into a story that should be focusing on faith, tradition, and the church. Instead, we get an overly preachy, eye-roll-worthy mess that literally ridicules actual Christian beliefs through the perspective of it being staunch traditionalism.
Now, the whole setup is about the College of Cardinals coming together to elect a new pope after the current one dies. There’s this whole power struggle between different cardinals, each with their own political and theological leanings — you’ve got a progressive, a conservative, a moderate, and a traditionalist, each vying for the papacy. So far, so good. It's classic political drama. But then the film starts introducing these weird, and just unnecessary elements. At first, it seems like it’s just going to be a story about church politics and religious tensions, but it takes this sudden sharp turn into territory that feels so out of place. The whole trans-related plot point? Just... what? It’s not just forced, but it’s also completely out of context for a film about electing a pope. You can’t just throw that in there to check a box for modern “progressive” ideals and expect it to make sense within the world you’ve created. It’s so jarring. It feels like an agenda, not part of a thoughtful narrative.
And honestly, the whole thing just feels preachy in a way that I find totally off-putting. You’ve got all these characters who are supposed to be these serious men of the church, but instead of focusing on the moral and spiritual weight of their decisions, the film forces in these unnecessary, over-the-top social themes. It just turns into an eye-roll fest. It’s like the filmmakers just couldn’t help themselves—they had to make a statement about social issues, and it completely derails the story.
And speaking of derailing—the pacing. Oh, my word. This movie is so slow. You’re sitting there, watching these characters argue and plot and scheme, and it just drags on and on with zero payoff. Honestly, I don’t know how this movie managed to get nominated for Best Picture and Best Adapted Screenplay, because it doesn’t even come close to deserving those honours. You’re waiting for something meaningful to happen, and then all of a sudden, it ends on some bizarre, head-scratching weird out-of-place transgender note. It’s like you’re walking through molasses trying to get through this film, and then it hits you with an ending that leaves you asking, “What was the point of all that?”
Look, I get that films are meant to push boundaries and challenge norms, but this one just feels like it’s checking boxes and trying to be “woke” for the sake of it. The trans allegorical storyline feels like it was shoehorned in just to make some sort of statement, and when you’re talking about the election of the pope—one of the most sacred processes in Catholicism—it feels completely disrespectful to the religion and its traditions. It’s not just that the movie doesn’t take Christianity seriously—it’s that it goes out of its way to use it as a backdrop for an agenda.
So, really, Conclave is one of those films that thinks it’s saying something so profound, but in reality, it just ends up being a preachy, slow-moving disaster. It tries to make a statement, but in doing so, it completely disregards the integrity of the subject matter it’s handling. The pacing is painfully slow, the social commentary feels forced, and the ending is just... bizarre. And don’t even get me started on the nominations for Best Picture and Best Adapted Screenplay. Those are just straight-up crazy. If you’re looking for a serious, respectful portrayal of the church and the election of the pope, this isn’t it. It’s a weird, uncomfortable mess that’s way more concerned with pushing a modern agenda than telling a meaningful story.
EMILIA PÉREZ
We’ve now made it to the most infamous film of this year’s Oscars: Emilia Pérez. It seriously got 13 nominations: one away from getting the same amount of nominations as La La Land, Titanic, and All About Eve. Think about that. Thankfully, I think it only ended up winning 2 or 3 of those nominations, but I could be wrong.
Okay, so, Emilia Pérez is a mess of a movie, and trust me, it’s not one I’m in any hurry to rewatch. I hated it, but that’s no surprise—literally everyone I know hates this movie. Like, let’s just address the elephant in the room: this movie is a crime cartel trans musical. Yes, you read that right—a musical. And honestly, that combination of themes just does not work. You’ve got a cartel kingpin, gender-affirming surgeries, a lawyer doing some morally questionable things, and then suddenly, people are bursting into songs about vaginoplasties. It’s just... bizarre. Like, I thought I had seen some strange movies, but this one really takes the cake.
Now, let’s talk about that infamous song, “La Vaginoplastia.” If you haven’t heard it, consider yourself lucky, because it is so bad. If you want to hear it for yourself, here you go! Take a listen but be warned, it’s hard to get through:
When I was watching the film, I had to stop myself from laughing uncontrollably because this is supposed to be a serious film, and this song sounds like some kind of parody. What makes it even more laughable is how it presents this process of gender-affirming surgery like it’s the punchline of a joke. I mean, you can’t take this film seriously when they’ve got a song like this saying, “Penis to vaginaaa” in the middle of it.
And I get it, the movie tries to explore the character of Juan “Manitas” Del Monte, who transitions into Emilia Pérez after undergoing surgery, all while being a powerful, notorious cartel boss. But come on—you’re telling me a cartel kingpin who runs drug rings and murders people decides to become a woman and then makes a nonprofit to identify dead cartel victims? It’s just so off. I can’t even explain it properly because it’s too much of a stretch for any rational mind to comprehend. Like, they literally try to have this redemption arc for someone who's literally a criminal mastermind, and the movie expects us to care?
And don’t get me started on the relationship with Emilia’s wife, Jessi. This whole thing is so weirdly forced — Emilia cuts off her allowance, threatens her lover, and then suddenly they’re having a shootout with the cartel’s security team. It just feels like it’s taking an already wild concept and pushing it even further into the territory of the absurd.
The pacing of this movie is another huge issue. It drags on for what feels like forever, and for what? A bunch of confusing plot points that go nowhere and are just tied up with melodramatic moments that feel more like soap opera material than anything substantial. The whole idea of Emilia’s gender identity and her transition is probably the film’s most “groundbreaking” theme, but it’s done so poorly. The film feels like it’s trying so hard to push an agenda, but it doesn’t do it with grace—it just throws it in your face and expects you to agree with its message.
But here’s the real kicker: Emilia Pérez somehow got nominated for Best Picture and Best Adapted Screenplay. This is insane. You’re telling me that this movie, with its bizarre mix of cartel violence, gender-affirming surgeries, and atrocious musical numbers, is considered best picture material? It’s absolutely wild. It’s the kind of film that everyone can agree is just a disaster, and somehow it got the recognition it didn’t deserve.
So, yeah, in conclusion, Emilia Pérez is a terrible movie. The characters are unbelievable, the plot is nonsensical, and the musical numbers are just painfully awkward. The movie’s attempt at blending crime drama with gender identity issues is so muddled, and it doesn’t do any of it justice. It’s a confusing mess of a movie, and it’s definitely not one I’d recommend—unless you want to watch something for the sheer “what was that?” factor.
THE SUBSTANCE
Alright, The Substance. First of all, this movie? It's probably one of the best out of the nominees this year, and it's about time a horror film got some recognition in The Academy. I was honestly expecting it to be a preachy mess, you know, one of those movies where they go on and on about how society just can't accept women over 40 and how all men are just terrible, shallow people who only care about beauty. But The Substance doesn't go that route at all, which, thank goodness. Instead, it’s an interesting and kind of insane critique of Hollywood, the obsession with youth, and what happens when you try to fight against the natural aging process.
So, the movie follows Elisabeth Sparkle, a washed-up actress who's basically been discarded because she’s 50. It starts off pretty rough—she’s getting kicked off her TV show, her career is in the dumps, and, naturally, that all sends her into a downward spiral. But then she’s introduced to The Substance, this black-market drug that promises to make her younger and more beautiful. So, of course, she tries it. What ensues from there is like... truly one of the most bizarre body horror setups I've ever seen. The film doesn’t shy away from showing us exactly how horrific the whole process of regenerating a new, younger body is. It's graphic and weird, but honestly, I didn’t hate it.
Now, here’s what I appreciated: the movie didn’t turn Elisabeth into some tragic figure who's just whining about being objectified by Hollywood or blamed it all on society's unrealistic beauty standards. Instead, it explored the question of why she’s struggling to accept herself as she ages. It wasn’t some big feminist rant, and I think that’s why I liked it. It actually gave us a deeper dive into the psyche of someone who’s been in the spotlight and is now having to reckon with the fact that the thing that made her famous—her looks—are fading. The film never forces an agenda. It just explores the theme of self-worth, and you can walk away with your own conclusions.
And let’s talk about the symbolism here—it’s wild. Sure, it’s not subtle at all, but it’s so creative. I mean, come on, the whole idea of swapping between two bodies every seven days? It’s nuts. And it’s not just body swapping for the sake of it—it’s this wild commentary on vanity, on the fleeting nature of fame, and the obsessive need to keep up with this insane standard that Hollywood sets for people. The scenes of Elisabeth and Sue, the younger version of her body, are so well-done in showing how each of them starts to resent the other, which made for such a compelling dynamic. I won’t spoil too much, but the way it all ends is as bizarre as it gets.
Honestly, going into The Substance, I thought it would be all about how society doesn't value older women, and that would have been really easy and predictable. But it didn’t go there. Instead, it asks why Elisabeth can’t love herself as she ages and digs into her own flaws—without dragging men, or society, through the mud. And, I personally think that’s pretty refreshing.
Also, the body horror element was just straight-up insane. I don’t think I’ll ever see another movie quite like this. The grotesque visuals, especially towards the end, were jaw-dropping and, honestly, kind of impressive even if I did actually feel sick leaving that theatre. It wasn’t just for shock value, too; it had a purpose. The film does such a good job balancing all these themes while still making you feel uncomfortable. This film was one of the most wild in-cinema experiences I’ve had in my life.
So yeah, overall, I didn’t expect to enjoy The Substance as much as I did, but it really surprised me. It’s a weird, insane ride that I won’t forget anytime soon. It’s definitely not for everyone—if you’re not into body horror or dark, twisted metaphors, you might want to skip this one. But if you’re into something that actually challenges Hollywood’s portrayal of aging, beauty, and fame without just shoving an agenda in your face, this movie is one you’ve gotta check out.
And look, it might get a little wild and grotesque by the end, but honestly? I kinda respect how it just went for it. It might be a horror movie, but it's got more to say than most "serious" dramas out there like the rest of the nominated films. So, props to The Substance for being so out there, yet strangely deep.
WICKED & A COMPLETE UNKNOWN
Now, to touch on Wicked briefly, yes, I didn’t enjoy it all that much. But, I don’t want to go into a full analysis on why I didn’t enjoy it like I’m doing for the other films because I genuinely think it’s because I’m not a musical fan along with the fact I didn’t like how it has such a long runtime and still needs a Part Two. What I really want to get into is A Complete Unknown…
Alright, so A Complete Unknown... It’s another Bob Dylan biopic, and honestly, that’s pretty much all it is. There’s not a whole lot new or groundbreaking here. It’s exactly what you’d expect—lots of music, tons of drama, and of course, an attempt to capture the elusive nature of Dylan’s personality. If you’re a fan of Dylan, you might get more out of it, but if you’re not a huge Bob Dylan fan, the film might not do much to change that.
Now, to be fair, the pacing of the movie... yeah, it did get a little rough in the middle. It kind of dragged. But I’ll give it credit—by the third act, it definitely picked up again. That final stretch was where the film found its footing, and it really came together in a satisfying way. The pacing is an issue at times, but I’ll forgive it because, by the end, I was invested again.
As for the performances, wow, they really were great. Timothée Chalamet, in particular, was amazing. Honestly, I thought he was a shoo-in for Best Actor this year. He’s just got that incredible intensity, and he really nails the unpredictable, enigmatic vibe that Dylan had during his rise to fame. I think people were expecting him to win big for this role, but hey, sometimes the Oscars can be a little unpredictable, right? Regardless, his performance was solid.
That said, it’s a biopic, and you know how these things go—it’s tough to make a film about someone as famous and complex as Bob Dylan and do it in a way that feels fresh. The movie definitely has some great moments, but it doesn’t exactly reinvent the genre. Still, if you’re into Dylan’s music or just enjoy a good drama with some great acting, it’s worth a watch.
At the end of the day, A Complete Unknown is a decent film. It might not blow your mind, but it’s got a lot of good things going for it—solid performances, a captivating portrayal of Dylan’s rise, and a pretty decent way to spend a couple of hours if you're in the mood for a biographical drama. But yeah, pacing issues aside, it’s just... another biopic. But, still a good biopic.
Now, this is one of the longest articles I’ve written for you guys. And we’re not done yet. Let’s get into the real meat and potatoes of it all…
WE DON’T CARE ABOUT THE OSCARS ANYMORE
Here’s the thing: The Oscars just don’t have the same punch they used to. Like, seriously. I didn’t even know it was happening until the day after. That’s how much it’s slipped off the radar. And I’m not alone. Sure, you’ve got the hardcore movie buffs who tune in, but even they don’t seem to care as much anymore. It’s not just me being some casual observer—Hollywood’s biggest night has lost its spark.
I mean, I can’t even remember the last time I watched the whole thing. You’d think the Oscars would be this big, exciting event that gets everyone talking, but honestly? Most people don’t even bother. And it’s not because they’re busy or too cool for it. It’s because they just don’t care anymore. Why would they? The Oscars have become this bloated, self-congratulatory festival that barely even resembles what it was supposed to be: A celebration of the best in film.
Let’s just cut to the chase. Everyone knows it, and frankly, it’s hard to ignore: Hollywood’s obsession with the “woke” agenda has completely ruined the Oscars. I mean, come on—every single award show now feels like a contest to see who can virtue-signal the hardest. The Oscars used to be about the best of the best, but now it’s about how many boxes you can check. Is this movie “inclusive” enough? Are the creators diverse enough? Do we have the right messaging?
Look, I get it. Representation matters. But when Hollywood starts handing out trophies based on a laundry list of politically correct criteria instead of actual quality, it won’t go over well. People are tired of hearing how every movie or actor’s win is “so important” for this or that group. That’s not what we want from the Oscars. We want the best performances, the best storytelling, and the best cinematography, regardless of who’s behind the camera.
Instead, we get speeches that feel more like political rallies than acceptance speeches, though I will say from what I did see of this year’s speeches it didn’t seem too bad. It’s less about celebrating film and more about telling the audience how “woke” everyone in the room is. And let’s be honest, it’s hard to respect an award show where half the winners feel like they’re not even nominated on merit anymore—they’re just there to tick some diversity box.
Then, there’s the whole “Hollywood elite” problem. The people who run this industry are so far removed from the rest of us it’s honestly laughable. You ever watch an Oscar speech and think, “Wow, these millionaires really get it?” I don’t. It’s like they live in this little bubble where everything is fine and dandy, and meanwhile, the rest of us are trying to survive inflation, deal with all the chaos in our schools, and wonder if our country is ever going to get back on track.
People just can’t relate to these “A-list” actors and directors who are living in their mansions and flying private jets, lecturing us about how to live our lives. You know, the same people who are just so deeply concerned about all the social issues while completely ignoring how regular people are suffering. They’ll get up on that stage, say some overly-earnest thing about how “privileged” they are, and then get back to their fancy after-party with no real connection to the issues they’re pretending to care about.
It’s a bit insulting, to be honest. So, you’ve got these out-of-touch celebrities patting themselves on the back for their “progressive” views, and meanwhile, the rest of us are tuning out. Why bother watching? These people are so far removed from our day-to-day lives they might as well be on a different planet.
And, let’s talk about streaming for a second. You know why the Oscars feel less important now? Because people don’t care about going to the theatre or watching some Hollywood movie that won an award. We’ve got Netflix, Hulu, Disney+, and more. We can watch whatever we want, whenever we want, in the comfort of our own homes. Though I personally try to go see as many films as I can in the cinema. Out of all the films I’ve talked about, I’ve seen all of them in the cinema except for Emilia Pérez since it was a Netflix film.
But also, here’s the kicker: Some of the best films nowadays aren’t even getting nominated. Instead, we’re stuck watching a bunch of movies that Hollywood thinks we should care about, but aren’t. It’s like they’re stuck in a loop of trying to please critics instead of what the average person actually wants to see. It’s no longer about great movies—it’s about checking boxes.
Remember when “Best Picture” used to feel like it actually meant something? You’d watch the winning movie and be like, “Yeah, this totally deserved it.” Now? It’s just a toss-up. Streaming platforms are producing some serious contenders. Yet, somehow, we’re supposed to care about the “Best Picture” that won because it’s got a message that fits the current narrative.
Oh, and the viewership numbers? Yikes. The Oscars used to be a huge deal. People watched. Now, every year it’s a sharp drop. In 2023, the ratings plummeted by almost 60%. People just aren’t interested anymore. Why? Because the Oscars have become boring. It’s an endless cycle of the same tired speeches, the same predictable awards, and let’s not even talk about the hosts—who are always cringeworthy.
Look, I’m all for watching the best in film get their due. But when the whole thing is more about political commentary and less about the movies themselves, who cares? When your show is dragging on forever, with people getting up there to give 10-minute speeches on social issues instead of their movie, what do you expect will happen? The Oscars aren’t fun anymore, and the audience has noticed.
Honestly, at this point, who knows? The Oscars used to be the big night for movies, but now they’re just another flashy, meaningless event in a year filled with award shows. Hollywood has lost its relevance, and the Oscars are just a symptom of that. If they don’t get it together and start focusing on actual talent instead of who can make the best movie about being “woke,” they’ll continue to fade into irrelevance because this year’s movies are a toss-up; some are good, most are bad or just okay. And that’s because they all had one thing in common: a political and social message they agree with and want to push.
I hope you guys enjoyed this sort-of analysis of the award season in film, this is the longest article I’ve written on this newsletter to date, so I hope you don’t mind the longer length in comparison to the other articles. I obviously love talking about movies so I thought this would be the perfect topic for a longer in-depth analysis type article, since seriously, The Oscars are becoming old news and are going extinct soon enough. And, to be honest? Most of us wouldn’t even miss it.