There are 35 feature films nominated for the 2025 Academy Awards ceremony. We here at Swampflix have reviewed less than half of the films nominated (so far!), which isn’t nearly a high enough ratio to comment on the quality of the overall selection with any authority. We’re still happy to see movies we enjoyed listed among the nominees, though, including one of our own Top 10 Films of 2024. The Academy rarely gets these things right when actually choosing the winners, but from what we’ve seen this year’s list is a decent sample of what 2024 cinema had to offer.
Listed below are the 14 Oscar-Nominated films from 2024 that we covered for the site, loosely ranked based on our star ratings and internal voting. Each entry is accompanied by a blurb, a link to our corresponding review, and a mention of the awards the films were nominated for.
The Substance, nominated for Best Picture, Best Director (Coralie Fargeat), Best Actress in a Leading Role (Demi Moore), Best Original Screenplay, and Best Makeup & Hairstyling
“Coralie Fargeat’s satirical body-horror comedy is a fun little fable about the ageism, sexism, and self-hatred in pop culture’s obsession with the past – all embellished with surrealistic gore effects worthy of Screaming Mad George. Show up for Demi Moore’s mainstream comeback; stick around for funhouse mirror reflections on how being alive and made of meat is gross, how the things that we have to consume to stay alive are often also gross, and how the things that self-hatred drives us to do to ourselves are the absolute grossest.”
Memoir of a Snail, nominated for Best Animated Feature
“A stop-motion animated dramedy about cruelty, loneliness, and mental illness from the director of Mary & Max: a stop-motion animated dramedy about cruelty, loneliness, and mental illness. I really like what Adam Elliot’s doing. He’s got a tangible, darkly comic sense of despair to his work matched only by fellow snail’s pace animator Don Hertzfeldt … thankfully this time borrowing a little Jean-Pierre Juenet whimsy to help cut the tension.”
Dune: Part Two, nominated for Best Picture, Best Cinematography, Best Production Design, Best Sound, and Best Visual Effects
““This is a huge movie, just big and bold and broad and beautiful. It’s so captivating that even a week later, I still feel more like it was something that I experienced more than it was something that I saw; talking about it as a film almost feels like the wrong way to discuss it.”
A Different Man, nominated for Best Makeup & Hairstyling
“Aaron Schimberg ventures further into the ethical & psychological labyrinth of rethinking onscreen disfigurement & disability representation that he first stepped into with Chained for Life, this time with less third-act abstraction. Sebastian Stan does incredible work building complex layers in the lead role until Adam Pearson completely wrecks the whole thing in the funniest way possible. It’s a great dark comedy about the tensions between internal & external identity.”
Anora, nominated for Best Picture, Best Director (Sean Baker), Best Actress in a Leading Role (Mikey Madison), Best Actor in a Supporting Role (Yura Borisov), Best Original Screenplay, and Best Film Editing
“This sex-work Cinderella story is the feel-good sweet counterbalance to the feel-bad sour notes of Sean Baker’s Red Rocket. Both films are equally funny & frantic, but Baker has clearly decided he wants audiences to love him again after his brief heel era, and it’s impressive to see him face-turn to this opposite tonal extreme of his work without losing his voice.”
Nosferatu, nominated for Best Cinematography, Best Costume Design, Best Makeup & Hairstyling, and Best Production Design
“Robert Eggers has softened his alienating approach to narrative structure so that he can escalate his exquisite, traditionalist images to a grander, major-studio scale. As a result, this cracked costume drama doesn’t add much to the ongoing ritual of restaging Dracula (except for accidentally making the argument that Coppola’s version is the best to date). It’s a gorgeous, heinous nightmare in pure visual terms, though, which obviously goes a long way in a largely visual medium.”
Alien: Romulus, nominated for Best Visual Effects
“Pretty solid. The action sequences are fantastic (there’s a particular standout zero gravity sequence) and build logically upon one another, the introduction of a ticking clock in the form of the station’s deteriorating orbit is well-done and ups the stakes at exactly the right time, and the characters who have characters are interesting. Their interactions feel at home in this universe of films in which the night is dark and full of monsters but in which humans (and maybe androids) can find a connection with each other that makes the dual horrors of late-stage space capitalism and acidic organisms that impregnate and kill seem surmountable, if at great cost. A worthy sequel in an uneven franchise.”
Wicked Part 1, nominated for Best Picture, Best Actress in a Leading Role (Cynthia Erivo), Best Actress in a Supporting Role (Ariana Grande), Best Costume Design, Best Production Design, Best Makeup & Hairstyling, Best Film Editing, Best Original Score, Best Sound, and Best Visual Effects
“It would have been nice to have the film try to replicate the Technicolor-sais quoi of the MGM classic, but there’s still a lot to love here in the designs and the details. The costuming is fantastic, and at no point did I think that Oz looked boring or colorless, except in moments in which there’s an intentionality to the blandness that I find appropriate. Overall, it left me feeling elevated and effervescent, and I loved that, even if what we’re watching is the real time character assassination of our protagonist at the hands of an evil government.”
Soundtrack to a Coup d’Etat, nominated for Best Documentary Feature Film
“A frantic essay film about the CIA’s attempts to rebrand the Cold War as a ‘Cool War’ by deploying popular jazz musicians to distract from conspiratorial overthrow of the Congolese government in 1960. It’s a little overwhelming as the anxious sounds & stylish block text of vintage jazz albums play over news-report propaganda clips for 150 relentless minutes, but it’s an impressive feat of politically fueled editing-room mania nonetheless. It’s like a version of The Movie Orgy for lefty academics.”
Wallace & Gromit: Vengeance Most Fowl, nominated for Best Animated Feature
“Just as cute & funny as expected, but also surprisingly smart about its skepticism of easy-fix tech solutions like AI, in that it’s most critical of using that tech to eliminate life’s pleasurable tasks: gardening, making tea, petting the dog, etc.”
Conclave, nominated for Best Picture, Best Actor in a Leading Role (Ralph Fiennes), Best Actress in a Supporting Role (Isabella Rossellini), Best Adapted Screenplay, Best Production Design, Best Costume Design, Best Film Editing, and Best Original Score
“I’m a lapsed Catholic in most ways except that I still have a huge soft spot for all the costumes & ritual, so this was an oddly cozy watch for something that’s supposed to be a kind of paranoid political thriller. It plays more like an HBO miniseries than an Important Movie for the most part, but those series are handsome & amusing enough that the distinction doesn’t matter much.”
A Real Pain, nominated for Best Actor in a Supporting Role (Kieran Culkin) and Best Original Screenplay
“Darkly, uncomfortably funny as a story about two men who love each other but have incompatible mental illnesses. I, of course, have whatever form of anxiety Eisenberg’s character suffers, which Culkin aptly describes as ‘an awesome guy stuck inside the body of someone who’s always running late’.”
Nickel Boys, nominated for Best Picture and Best Adapted Screenplay
“If you end up watching this at home instead of the theater, I recommend using headphones. A lot of attention will be paid to the 1st-person POV of its imagery, but the sound design is just as intensely, complexly immersive. I wish I had more to say about what it’s doing dramatically rather than formally, but the technical achievement can’t be dismissed.”
The Apprentice, nominated for Best Actor in a Leading Role (Sebastian Stan) and Best Actor in a Supporting Role (Jeremy Strong)
“A dirtbag sitcom featuring two talented actors playing two despicable ghouls. It’s not especially insightful as a political text, but it’s impressive as an acting showcase, which means it must be Awards Season again.”
-The Swampflix Crew
Swampflix 