Vampires, Race Cars, and Ping Pong: The Best Picture 2026 Rundown

By: Dylan Gibson 2029

Courtesy of the L.A. Film School.

2025 was an insane year for movies. We had some decent blockbusters, quite a few solid flicks for the “absolute cinema” crowd, and a surprising amount of overlap between the mainstream and the artsy. With the year at an end, the awards season has almost reached its own climax with the upcoming Academy Awards this next Sunday, March 15, once again hosted by the inimitable Conan O’Brien. In preparation for those awards, this filmbro has thoughts to share on the ten nominees for the most coveted title of the night– Best Picture. Sorted in no particular order except for whatever I felt like writing about next.

“Sinners” (dir. Ryan Coogler)

Probably the most mainstream nominee on the list, certainly the biggest hit. “Sinners” was a huge head-turner last year, a relatively original vampire flick with no pre-existing IP attachment, the unfettered creative vision from a black director with a blank cheque. Its fans like to say it’s not a vampire movie, that it’s so much more than that, but c’mon. It’s a vampire movie. And that’s okay! I love a good bloodsucker piece! Plus, vampires are used in a thematically relevant way– “Sinners” works with its vampiric conventions, not in spite of them.

Detractors of the film say it doesn’t work at all, that it’s overrated bologna. I disagree. It’s a fun blockbuster and creepy horror, and like most horror movies worth their salt (or garlic), it has something to say. The glazers are right in some ways, it is about a thing or two more than vampires. It’s about music, about its inextricable link to culture, the power it wields for good and for evil. It’s about cultural assimilation and about belief and family. It rocks! Speaking of the music, my man Ludwig Göransson popped off on the score, and there are multiple songs that could have been Best Original Song winners even though that God-forsaken earworm from last year’s OTHER movie about the power of music and its connection to culture is probably gonna win… BUT I DIGRESS.

“Sinners” starts as a slower burn, not really becoming a horror movie until the second half, but that first half works hard to give the characters a place in your heart before tearing it out and sucking the life from it. It’s an audiovisual feast and a passion project from a director sick of making Marvel slop. Plus, Miles Caton deserves a mention for an amazing debut performance– I’d argue he did better here than Michael B. Jordan– and for his crazy cool, deep voice. I don’t think “Sinners” is quite Best Picture (sue me), but it’s far from the worst option on the list.

“F1” (dir. Joseph Kosinski)

Speaking of the worst option on the list…

I kid. But not really. The black sheep of this year’s Best Picture nominees, I think everyone was surprised to see “F1” on there. Joseph Kosinski, relatively hot off “Top Gun: Maverick”, set out to do another adrenaline-pumping thrill ride (pun intended). “F1” follows a similar formula to “Maverick”, with an aged but sexy face familiar to audiences– Brad Pitt in place of Tom Cruise– coming back into the fold to teach the new generation a thing or two, and maybe to achieve an ultimate victory. The racing scenes are as great as one would expect from the guy who made the better “Top Gun” (fight me), with wild kineticism like an adrenaline shot straight to the eyeballs. Still, even as someone who’s never watched a second of Formula One, I could tell about 90% of the stunts Brad Pitt pulled could never possibly fly in reality. The racing is cool, but everything between those sequences feels super trite and cliche’d. Javier Bardem brings back his silly “LISAN AL-GAIB” type freakouts from “Dune: Part Two.” I’m pretty sure they cut out a whole plotline with the mechanic lady? It feels like she had a bigger part that was largely cut in the editing room, but pieces of it remained in scenes that they couldn’t cut so you see these weird glimpses of that. It already feels bloated enough, so it makes sense to cut things, but it still feels off. 

“F1” is neat if you turn your brain all the way off, and as a Best Picture nominee you could justify it as a sort of callback to the cinema of attractions period of early film, where spectacle, not story, was the focus. But, in a modern age, where we can easily watch actual F1 races or even place ourselves directly in the driver’s seat through a plethora of video games, is there really a place for that kind of spectacle in the movies without a strong narrative backbone?

“Frankenstein” (dir. Guillermo del Toro)

“Frankenstein” was a letdown for me. I’ve never read the book (I know, I’m a bad English major), so I don’t say that from a “the book was better” standpoint, though I’m told it is. It feels more like a high-budget superhero blockbuster than the intimate gothic horror piece it ought to be. The camera floats around, artificial, smooth, and unmotivated in its movements and unceasing wide angles. Occasional good moments are quickly spoiled by the wooden, over-explanatory dialogue that Netflix has quickly become infamous for. 

“You’re the monster, Victor.” Well done, Sherlock. Some 12-year-olds probably just saw this for their first Frankenstein story and thought that was the most profound thing ever. The cinematography and general aesthetic– mise-en-scene, if you’ll allow me to embrace my inner filmbro– have far too much polish where it should be gritty and grimy and gross. It’s about reanimating the dead! It’s not supposed to be clean! It’s inherently unclean, literally and spiritually! In terms of pure gothic atmosphere, James Whale’s 1931 monster movie is still the “Frankenstein” adaptation to beat.

I realize, as I write this, I sound outraged about the film. I’m really not (mostly). There are parts I quite enjoy, but again, those parts are quickly overshadowed by the bad dialogue and, as much as it pains me to say about del Toro, uninspired direction. I’m a big fan of Jacob Elordi here, though, he’s really been growing on me as an actor. The bulk of “Frankenstein” is very fine, no more, no less, but the film is perhaps the most overhyped on the list.

“Train Dreams” (dir. Clint Bentley)

“Train Dreams” is one of the shorter nominees, but it’s a slower burn than a lot of them. It works though, it’s a very melancholic look at the American frontier in the early 20th century. I do love a good story about the expansion of that frontier and the death of true freedom that came with it. The narration at times feels a little much, like we’re being told what we should be shown since it’s a visual medium, but at its best it complements the events on-screen, emphasizing the quiet sadness of it all. This is a story about finding a place in the world, the search for meaning and happiness in our fleeting time here and in the face of an ever-changing society. It’s about being in the wrong place at the wrong time, or the right place at the right time, and the tragedy of being unable to control one or the other. It’s beautiful visually and narratively, and bound to leave you pondering about life for a good bit afterwards.

“Hamnet” (dir. Chloé Zhao)

Oh boy. This one is for the English majors. So is “Train Dreams,” come to think of it. Anywho, Chloé Zhao presents us with an intimate portrayal of family, loss, and the power of storytelling. “Hamnet” is a bleak little fictionalized look at Billy Shakespeare himself, with visuals as poetic as its dialogue. It’s a tear-jerker, even for this cold-hearted writer. Jessie Buckley went all-in on her performance, she’s probably winning Best Lead Actress. Paul Mescal did great too, but honestly, the best acting here might be from the 12-year-old Jacobi Jupe. The boy was adorable, and I want to be a dad, but also, this movie makes me scared to be a dad.

The score rocks too! I wouldn’t be mad if this beat “Sinners” for Best Original Score, even if it’s not my personal favorite of the year. “Hamnet” might not be my #1 pick on the Best Picture list, but it has my favorite ending from any film of 2025. It will move you. Bring tissues. Some critics call the film “manipulative,” but I think Zhao is just good at her job. This may be what makes me finally give Marvel’s “Eternals” a chance. It’s that good.

“One Battle After Another” (dir. Paul Thomas Anderson)

You know how I just said “Hamnet” wasn’t my #1 pick for Best Picture or for Best Score? That’s because “One Battle After Another” (OBAA) is. Although I wouldn’t be terribly upset if “Sinners” or “Hamnet” beat this one for Best Score. Jonny Greenwood’s is less dramatic than either of the former, but I love the frenetic piano adding to the stress and tension of everything. Beyond the score, there are a couple needle drops from “OBAA” that I adore. Probably the best use of Steely Dan since “The Sopranos.” 

Like any popular movie, people have started hating on “OBAA”, but I’m a die-hard defender. Paul Thomas Anderson is one of my favorite directors and he did not disappoint with his latest work. It is essentially his quirky, R-rated take on “Finding Nemo”, a tale of an overprotective father, his child, and the quests of both as one tries to find the other after they are separated. Leonardo DiCaprio is hilarious and sympathetic as has-been revolutionary father Bob, the best character of his since Rick Dalton of “Once Upon a Time… in Hollywood”. 

All Anderson’s films have a dark humor about them, but this is the funniest I’ve seen of his thus far. In fact, I consider this one of the funniest movies of 2025, behind the underappreciated “Friendship”, which had me cry-laughing in the theater. Anderson’s humor accentuates the biting satire that hits almost uncomfortably close to home right now, at times stepping beyond that “almost.” Leo’s frustration on the phone with Comrade Josh is relatably funny and Sean Penn’s self-seriousness as Colonel Lockjaw manages to be Oscar-worthy, terrifying, and hysterical all at once. Between those two, Benicio del Toro as Sensei, and many others, there is no shortage of fun, memorable characters. Amidst all that crazy chaos, though, is Chase Infiniti keeping it all grounded in yet another crazy debut performance (a lot of those this year).

At its core, “One Battle After Another” is about family, freedom, and the human need for belonging. It’s surprisingly touching, and its outlook refreshingly optimistic. Anderson wants the next generation to know that there is hope, that they– we– can make a change where those before failed to do so. It’s a stark contrast to the likes of “Eddington”, another satire from last year that is oddly similar in many ways, but much further on the pessimistic side. There’s a lot to love about “OBAA” and even more to think about in its comedy, its action sequences, an all-timer car chase, its ridiculous situations and its even wackier characters. I hope this brings home some awards.

“Marty Supreme” (dir. Josh Safdie)

The ping pong movie! Solid chance Timothee Chalamet wins Best Actor for this one, and he’d deserve it. Marty Mauser is a perfect asshole. He’s the best and he knows it, and he needs to make sure everyone else knows it too. Kinda like Timmy!

“Marty Supreme” is an engrossing critique of the American dream and a look at the timelessness of American greed. Fascinatingly anachronistic, it takes place in the 50s, its music is from the 80s, and people talk like it’s 2025. If you’ve seen “Uncut Gems” or “Good Time,” both of which Safdie did with his brother, you know basically what to expect: a train wreck of a movie about an absolute trash can of a dude who keeps digging his hole deeper and deeper, and you just can’t stop watching. This bad boy is energetic and stressful and tragic and awesome. The scenarios just get crazier and you keep biting your nails waiting to see how on Earth he’s gonna get out of this one. And the one after that. And the one after that. Boy, it’s like “One Battle After Another” for this guy…

Sorry.

I love “Marty Supreme.” The ping pong scenes are as exciting as anything from “F1” and the soundtrack kicks butt. Marty Mauser is such a genuine rat (Mauser… mouse?) of a human being but I couldn’t help but kind of root for him, if only just to see he didn’t screw everyone in his life over for absolutely nothing. Timmy’s recent comments dogging on other arts like ballet and opera have left a foul taste in folks’ mouths, but don’t let that stop you from enjoying the craziness that is “Marty Supreme.”

“Bugonia” (dir. Yorgos Lanthimos)

Man, oh man, “Bugonia.” This is one of those movies I tell people to go into as blind as possible. Seriously, if you haven’t seen it, do yourself a favor and stop reading, watch it, and come back. I daresay it rivals “Marty Supreme” in terms of stress-inducing insanity that progressively heightens. If you must know, Jesse Plemons, whose lack of a Best Actor nomination is an ATROCIOUS snub, is a conspiracy theorist who decides he has to kidnap high-profile CEO Emma Stone for the good of humanity. The bulk of it takes place just in Plemons’s character’s house, but it is NUTS. The exchanges between Plemons and Stone are darkly hilarious and wildly entertaining. There are a couple of really great needle drops in there (including Chappell Roan), plus a fun, pointed satire and some genuinely unsettling visuals that make for a real memorable watch. Yorgos keeps us on our toes with this one. “Bugonia” was one of the best theater experiences I had last year and it had another fantastic ending.

“Sentimental Value” (dir. Joaquim Trier)

Real heartbreaker, this one. One of two foreign nominees for Best Picture this year, most of the dialogue is in Norwegian, some in Swedish, and some in English, but that takes away none of its impact. Mostly set within or around one house, there is an almost play-like quality about it. Pieces of this family drama border on Ibsen-esque with complex relationships and moral shadiness. It’s for the folks with complicated feelings toward their fathers. Or for them to avoid, if it’s too close to home. I couldn’t say. A movie about the movies, it’s about a pair of sisters whose estranged film director father attempts to reconnect. The scope some films nominated have in spectacle, “Sentimental Value” has in emotionality. It has the kind of depth and symbolism you could pick apart in an English class and actually have an interesting discussion trying to unpack. Stellan Skarsgård nails it, as do Renate Reinsve and Elle Fanning. This one’s really solid and I haven’t heard anyone talking about it. “Sentimental Value” is a well-paced film, neither too long nor too short, and it ends at a perfect time to avoid wearing out its welcome.

“The Secret Agent” (dir. Kleber Mendonça Filho)

I have a confession to make. I have only seen 9 of the 10 Best Picture nominees for this year. I am a fake filmbro. To quote Yoda, “failed I have. Into exile, I must go.”

I do want to see “The Secret Agent.” Following “Sentimental Value,” it’s the other foreign nominee. This Brazilian flick is a darkly comedic crime thriller, an ode to the paranoid, slow-burn thrillers of the 70s in which it is set. Seems right up my alley! I just haven’t put aside the 2 hours and 40 minutes it takes to check it out, unfortunately. Wagner Moura won the Golden Globe for Best Actor for this, so I’m sure he’s great in it. Not sure how much I can say about it considering I haven’t seen it, but given how good most of the rest of the list is, I’m sure this is no different.

Conclusion

Like I said, 2025 rocked for cinema. A solid argument could be made for most of the Best Picture nominees deserving the award. I have my favorites among the ten, but everyone is entitled to their own. It is a shame to think about all the films that didn’t get recognition despite deserving it. Rian Johnson’s “Wake Up Dead Man” was one of my favorites and it didn’t get a thing! I was hoping our very own alum Glenn Close would get a Supporting Actress nomination (roll Tribe). “Eddington,” though cynical, should’ve gotten a thing or two, Joaquin Phoenix’s performance at the very least. Park Chan-wook’s “No Other Choice,” Wes Anderson’s “The Phoenician Scheme…” but I’ve yapped enough without going over everything the Academy ignored. None of the nominees this year are outright bad, and all are worth checking out if nothing else. Cinema is in a fantastic spot where we have this many good movies, and no matter who wins, I can’t wait to see what’s next for 2026.