With less than a week until the 2024 Oscars ceremony, I thought now would be the perfect time to take a look at this year’s Best Picture nominees and share my thoughts.

2023 was an outstanding year for movies. Millions swarmed to theaters for the cultural moment and cinematic event that was a double feature of “Barbie” and “Oppenheimer.” The team behind “Spider-Man: Across the Spider-Verse” continued the saga of 2018’s “Spider-Man: Into the Spider-Verse” and revolutionized animation for a second time. And “Saltburn”’s multiple jaw-dropping moments kept us away from bathtubs and graves for the foreseeable future.

Unfortunately, not every movie could be nominated for Best Picture and while there were some definite snubs, this year’s crop of nominees are undeniably strong. Before I get into them, I think it’s important to recognize that the number of Oscars a movie gets or is nominated for is not indicative of its artistic merit. Plenty of incredible movies don’t get recognized at the Oscars and plenty of undeserving ones do. Nevertheless, it’s still fun to share opinions and speculate.

Lastly, I want to stress that these are my thoughts and you might disagree entirely and that’s okay! With that out of the way, let’s get into my list.

10. “The Zone of Interest” (dir. Jonathan Glazer)

As I left the theater after watching “The Zone of Interest,” I was left with one question in my mind: why did this movie need to be made?

Centering around Auschwitz commandant Rudolf Höss, “The Zone of Interest” tells the story of Höss and his family as they build an unsettlingly picturesque life next to the camp. The uniqueness of this film comes from the fact that the camp itself is never shown directly and the atrocities that happen at the camp are hidden behind the Höss family’s garden wall. Rather, director Jonathan Glazer chooses to leave the visualization of the atrocities up to the viewer’s imagination, opting for an auditory experience involving harrowing screams, gunshots, and the sounds of fire sprinkled throughout the film.

Personally, I found this gimmick of letting the audience hear the sounds of these crimes instead of showing them to be counterintuitive to the obvious message of criticizing the Nazis’ actions. I think holding back or leaving things of this significance up to the audience’s imagination is both pointless and harmful because it detracts from the severity of what happened at the camps. If you read about this movie, you’ll likely encounter the phrase “the banality of evil,” an idea it is very clear the film is trying to convey. And while I get that the point of “The Zone of Interest” is to criticize serenity in the face of atrocity, this movie isn’t doesn’t follow bystanders—it follows the very perpetrators of systematic extermination and mass murder. The characters we follow weren’t just complicit in the crimes of the Holocaust, they were the executors of these crimes. I don’t see how this movie is meant to make me feel angry or upset at these Nazis when it follows them around like nothing’s wrong. The very act of making Nazis protagonists, in my mind, makes it unpreventable that at least some sympathy or pity will be levied their way.

In short, while there are some aspects of this film to appreciated (such as the disturbingly peaceful cinematography, the admittedly bone-chilling sound design, and a strong performance from Sandra Hüller), I think, in this day and age, there is no need for Holocaust stories not to center around the those against whom atrocities were committed. Focusing on the Nazis, even if the ultimate intention is to criticize how even-tempered they were in the face of the atrocities they committed, is simply not it.

9. Killers of the Flower Moon (dir. Martin Scorsese)

After oil was discovered on their land in the 1920s, the Osage Native American tribe were the richest people in the world per capita. But, mysteriously, they were murdered one by one, leading to the FBI coming down to Oklahoma to investigate. Across almost three and a half hours, “Killers of the Flower Moon” tells the Osage’s story.

Except, not really.

Similar to “The Zone of Interest,” “Killers of the Flower Moon” chooses not to focus mainly on the victims of the tragedy it portrays. Instead, it takes an in-depth look at the white men who carried out the Osage murders, analyzing the “how” and “why” of their actions. Now, that’s not to say that there is no Osage representation in the movie—quite the opposite. Through the inclusion of many Native American actors, authentic costume design, and many scenes being in the Osage language, director Martin Scorsese ensures that his movie properly represents the Osage people. Still, plot-wise, it’s clear that the focus of the film is on Leonardo DiCaprio’s Ernest Burkhart and, to a lesser extent, Robert De Niro’s William Hale.

Which brings me to the characters. I think the film’s strongest character by a good margin is the character of Mollie Burkhart, portrayed expertly by Lily Gladstone. Mollie really is the heart and soul of the movie and Gladstone gives a performance that is mostly stoic and reserved but at times cracks to show the unbridled rage she feels toward the men who killed her family. DiCaprio’s performance, too, is powerful, layered, and impressive, especially given that he’s on screen for pretty much three and a half hours straight. De Niro is very strong, as expected, and creates a persona that is deceivingly friendly but has an underlying quality of wickedness.

My main issue with the film, aside from it feeling like it meanders through a lot of its first hour, is that we don’t get enough of Mollie. I really wanted to see the murders from her perspective, feel her pain, and watch as she becomes more and more mistrustful of the white men around her, including her own husband. And while analyzing the internal conflict Ernest Burkhart faces between his love for his wife Mollie and his loyal to his uncle William Hale is an interesting concept, it’s hard not to feel disappointed that the first (and likely last for a while) blockbuster about the Osage murders focuses mainly on the men who committed them, even if the film’s ultimate goal is to criticize them. Still, its commitment to accurately telling the victims’ story and its intriguing filmmaking techniques make it a big step up from “The Zone of Interest” in my opinion.

8. Past Lives (dir. Celine Song)

“Past Lives” is a simple but beautiful little film. It follows Nora and Hae Sung, who were childhood sweethearts in Korea before Nora moved to the United States. 24 years later, the two reunite in New York, where Nora is married to a man named Arthur, and must decide what their relationship is and could have been.

When I first saw “Past Lives” back in July of 2023, I was very much underwhelmed. I had heard many calling it one of the best of the year, a sentiment that has persisted in the past months, and I felt like I was missing out. My main problem with this film is the lack of attachment I feel to the relationship at the center of the film. Because you only see Nora and Hae Sung “in love” at age 12 for a few minutes at the beginning of the movie, it’s hard to accept that they have such a great rapport when they finally see each other again in person 24 years later.

Additionally, though it’s tough to admit, I found Nora and Hae Sung unlikeable. Every time they were having an intimate conversation about past lives and what could have been, I couldn’t stop thinking how inconsiderate and rude they were toward Arthur, Nora’s husband. Arthur is portrayed as an incredibly understanding and empathetic character who is perfectly comfortable with his wife reconnecting with his childhood sweetheart. In this way, every personal conversation between Nora and Hae Sung made me feel a sense of betrayal on Arthur’s behalf.

Now, I don’t want to seem like I’m being too harsh. “Past Lives” does have a lot to love. The cinematography is beautiful and serene, with many peaceful shots of Nora and Hae Sung walking and talking while the city bustles in the background. The performances are very solid and the dialogue (particularly the conversations between Nora and Arthur) is very well-written. Additionally, I won’t spoil it, but the film’s final scene is nothing short of beautiful and poetic.

All in all, I do think “Past Lives” would benefit from a rewatch, and I hope my issues with Nora and Hae Sung’s relationship clear up the next time I watch this. So even though I wasn’t this film’s biggest fan on my first watch, if you’re looking for an intimate, well-written, well-shot, and well-acted romance movie, I would definitely recommend “Past Lives.”

7. Barbie (dir. Greta Gerwig)

Out of every film on this list, “Barbie” is the one that needs no introduction. But nevertheless: “Barbie” follows the titular doll on her journey from Barbie Land to the real world and back again, where along the way she encounters the menace of the patriarchy and must find a way to restore Barbie Land to its former glory.

Like millions of others across the globe, I watched “Barbie” as a double feature with “Oppenheimer” back in July. To be completely honest, I went in expecting to enjoy “Barbie” more, but I came out slightly disappointed. But that’s not to say “Barbie” isn’t a hell of a great time.

To start with the positives, “Barbie” is simply infectious. The crystallized jubilation the film is able to encapsulate with its colorful costume and set design, its animated performances, and its sugar-pop soundtrack is quite admirable. You’d be hard-pressed to find anyone who didn’t smile once over the course of the movie. On top of that, the comedy in “Barbie” is very strong, particularly coming from the Ken character played by Ryan Gosling. Gosling delivers a hysterical, show-stopping performance as an over-the-top, singing and dancing fool, for lack of a better term. Outside of Ken, I’d be lying if I said that every joke worked for me (there’s a certain scene where a young girl calls Barbie a fascist that I think is played for laughs?), but “Barbie” is still easily one of the year’s funniest movies.

I think what detracted most from my enjoyment of “Barbie” is something that is inherent to the film’s existence: its very obvious application of the principle “tell, don’t show.” “Barbie” is not subtle about its intent to criticize patriarchy and express the impossibilities of being a modern woman (look no further than the instantly iconic America Ferrera monologue), and it’s not trying to be. Though it’s admirable that “Barbie” knows what it wants to be, that doesn’t stop its message from coming across too on the nose.

Think about it like this: in 2017’s “The Florida Project,” the main character, Halley, is a single mother raising her young daughter in poverty on the outskirts of Disney World in Florida. But there’s no scene where Halley breaks down and monologues something along the lines of, “Every day I struggle to pay for this room so me and my daughter can have a place to stay! The burdens of poverty and the capitalist system have left people like me in the dust, having to fend for ourselves, when all I want is the best life for my daughter!” Instead, “The Florida Project” makes you understand the struggles that these poor families face through intricate storytelling and not just saying exactly what it means. If I wanted that kind of straight-to-the-point messaging, I could just read a New York Times article about poverty in Florida. In the same sense, if I wanted to know a list of double standards for modern day women, I can google it or read a feminist book. Film, in my view, is best when you get your message across in an interesting way that is personal to the filmmaker, not in a way that is clearly aiming to appeal to all viewers. I think films that make you connect the dots yourself and compare what’s happening on screen to what you’ve experienced in your own life are the best kind. But I get it—“Barbie” is a summer blockbuster with a >$100 million budget and easily Greta Gerwig’s most accessible film, so I don’t fault it too much for its lack of subtlety.

Still, “Barbie” is undeniably a great time and if you somehow haven’t seen this yet, definitely check it out.

6. The Holdovers (dir. Alexander Payne)

“The Holdovers” is a quaint but emotionally impactful film that takes place in the 70s at Barton Academy, a boarding school in New England. It follows the cynical Mr. Hunham, a professor at the academy who is forced to stay on campus over the Christmas holidays to watch over the students who have nowhere else to go (the titular “holdovers”). One of these students, Angus Tully, rebels against Mr. Hunham’s old-fashioned rules and, unsurprisingly, the two form a bond.

I think what is most admirable about “The Holdovers” is how it is able to capture the time period in which it takes place. Watching this movie is like taking a step into a time machine and immersing yourself in the 1970s. The film’s cinematography creates a warm atmosphere reminiscent of the kind of movie your family has watched together every Christmas since you were a kid. A digital grain is even added to make it seem like the movie was shot on film. In reality, it was shot digitally, but this touch is another show of how much care was put into this movie.

Another of “The Holdovers”’ strong points is its rich characters, all brought to life by some incredible performances. Paul Giamatti embodies the disgruntled Mr. Hunham, a stubborn and cynical teacher who takes joy in failing his students. But below this unfriendly exterior, Mr. Hunham is revealed to be a tender soul happy to share his wisdom with the next generation. And that next generation is seen in the form of Dominic Sessa’s Angus Tully. Sessa brings an unruliness to the character that provides the perfect foil to Giamatti’s uptight Mr. Hunham. He shows off his comedic chops as well as providing intense emotional moments when the film calls for it. Not too bad for his first on-screen acting credit! I’d also be remiss not to mention Da’Vine Joy Randolph, who plays the tough but caring cafeteria manager Mary, who stays with Hunham and Angus at the school over the holidays. She holds her own and beyond against Giamatti and Sessa, and at this point has all but secured her Best Supporting Actress Oscar.

For me, there were no outright issues I had with “The Holdovers” that detracted from my enjoyment of the movie. Instead, it was more what the film lacked. It’s hard to put my finger on, but I felt the movie was missing some emotional hits, and while there are definitely some very strong emotional moments (a certain dinner party scene is my favorite of the whole movie), nothing got to me as much as I was hoping it would. The central relationship is also very reminiscent of films like “Dead Poets Society” and “Good Will Hunting,” both of which explore the young, wide-eyed trouble maker/old, wise father figure better.

Still, “The Holdovers” is a charming, heartfelt crowd-pleaser that I wholeheartedly recommend.

5. American Fiction (dir. Cord Jefferson)

“American Fiction” is probably the best satire of the year. Following the sarcastic but brilliant writer Thelonious “Monk” Ellison, this movie simultaneously tackles a satirically comedic plotline and a more serious, family-driven dramatic one. Monk is struggling to write a best-seller because, as his agent tells him, his books aren’t “black enough.” So Monk writes the most over-the-top, stereotypically black book he can muster as an “f-you” to the industry. The catch? His book becomes a best-seller, leading him to question the current state of racism in media and his own identity, all while dealing with familial problems involving his aging mother, sister, and brother.

The first thing I want to make clear is that “American Fiction” is funny. Like, really funny. The theater I watched this in (at the local Avon) was in an uproar for practically the film’s entire runtime, as was I. Jeffrey Wright’s iconic gravely voice lends itself perfectly to drama, but I’d argue just as well to comedy. He perfectly understands the movie he’s in and his delivery and comedic timing just works so well. And, while on the subject of great comedic performances, there’s Sterling K. Brown, who plays Monk’s brother Cliff. Brown is another typically dramatic actor who fits perfectly into this satirical comedy. His rendition of the free-spirited, laid-back Cliff contrasts perfectly with the more uptight and perfectionist Monk, leading to a plethora of hilarious conversations.

Aside from the comedy, “American Fiction” provides a strong dramatic narrative, too, centering around Monk and Cliff’s efforts to care for their aging mother. While not as compelling as the satire, it still justifies its place in the movie, allowing for some scenes in the film’s back half (particularly a monologue Cliff gives about his relationship with his late father) that are surely what earned Wright and Brown their respective Oscar nominations.

When it comes to themes, “American Fiction” provides a relevant commentary on racism in the entertainment industry and does so in a way that’s not too disconnected or out-of-touch. Wright’s character puts it best when his agent tells him that publishers are looking for a “black book:” “They have a black book. I’m black and it’s my book.” Admittedly, “American Fiction” sometimes feels like it plays it too safe—almost like it was designed for the very white, liberal, surface-level, “I would’ve voted for Obama for a third term!”-type audience that it’s criticizing. 

Nevertheless, I found “American Fiction” to be a perfectly-paced, never boring, thematically sound great time. Everyone should check this one out.

4. Anatomy of a Fall (dir. Justine Triet)

“Anatomy of a Fall” tricks you. On the surface, you might think this movie is a fairly simple courtroom drama about a mom defending herself in the case of her husband’s death. But take a closer look and you’ll notice that it’s so much more. Yes, it’s a courtroom drama, but it’s also a scathing look at a crumbling marriage and the inherent faults of two flawed adults. It’s also an analysis of the effects such a marriage has on the couple’s young, blind son. It’s a look inside the French court system, a raw depiction of familial relationships, mistrust, what “the truth” really even is, and so much more.

All of this starts with, you guessed it, a fall. Sandra is living in the French Alps with her husband, Samuel, and her blind son, Daniel when Samuel dies after falling from their secluded cabin’s third floor. Suspicion quickly grows that Samuel’s death was a murder and Sandra becomes the prime suspect. Alongside her lawyer, Vincent, Sandra must defend herself in court while reckoning with the imperfect relationship she had with her late husband and the faltering one she has now with her son.

The performances in “Anatomy of a Fall” really shine. Sandra Hüller is simply fantastic as the movie’s lead. She captures her character’s distraughtness over her husband’s death as well as the love she has for her son in such a realistic, emotional, and oftentimes gut-wrenching way. A certain flashback scene to an argument between Sandra and Samuel is so well-written, well-acted, and is probably my favorite part of the movie. Additionally, Milo Machado-Graner’s performance as Daniel outstandingly portrays how, even in the wake of his father’s death, he struggles with his conflicting loyalties towards his mom and his dad. But when it comes to the best performance in “Anatomy of a Fall,” that title unquestionably goes to Messi to dog, who plays the family pup and plays an integral role in the film’s final third. If you’ve seen the movie, you know what I mean.

Now, don’t be fooled by the myriad of themes “Anatomy of a Fall” tackles—much of the film does take place in a courtroom. If you’re not prepared to sit through long testimonies, confessions, statements, and legal interjections, maybe sit this one out. I watched the movie at home and every time the court adjourned for the day, I had to pause for a couple minutes, get a drink of water, and stretch my legs. All of this is to say, the legal parts of the movie are undeniably dense. But if you’re able to shut off distractions and really focus, those courtroom scenes turn from uninteresting to riveting.

If what I’ve said already isn’t enough to convince you to watch “Anatomy of a Fall,” I’ll add that this is probably the only movie to have an instrumental version of 50 Cent’s “P.I.M.P.” play a central role in the plot. I will not explain any further, please do yourself a favor and go watch this movie.

3. Maestro (dir. Bradley Cooper)

It’s no secret that Bradley Cooper wants an Oscar. He’s sort of become the quote unquote “villain” of this Oscar season due to the fact that he has been highlighting non-stop in interviews how much effort he put into this film. I can’t count on two hand the number of times Cooper has brought up that he underwent six years of training for one six minute conducting scene. But despite this controversy, as well as the throwing around of the term “Oscar bait,” I had a great time with “Maestro.”

“Maestro” is a biopic that recounts the adult life of famed American composer Leonardo Bernstein, particularly detailing Bernstein’s relationship with his wife, Felicia Montealegre. Starting during his years as an up-and-coming composer in New York and going into his years as a father to three children, “Maestro” takes a hard look at Bernstein’s life, both the good and the bad.

The first thing that struck me about “Maestro” was the film’s look. This is, in my opinion, some of the year’s best cinematography. The first third of the film is shot in black and white and the rest in color. The black-and-white part is clean, gorgeous, and complements the youth of Leonard and Felicia’s relationship. It also helps to create an old-timey feeling, almost like we are looking back at the memories of the couple’s budding relationship. When the film switches to color, though, the cinematography continues to be strong and purposeful. The lighting brings out the carefully selected bright colors of the costumes and set design, coming together to create a stylized look and feel your eyes are simply drawn to. The film’s direction also is very creative and playful, with a couple specific shots where the camera is overhead, following Leonard and Felicia as they run from one place to another, really standing out. These sequences make you feel as if you’re on stage with the actors during one of Bernstein’s Broadway productions.

Now, the performances. While many found Bradley Cooper to be overacting for the sole purpose of getting that elusive Oscar (Cooper has been nominated for twelve Oscars but never won), I thought his rendition of Bernstein was just as lively as the film needed him to be. Cooper adopts a nasal voice and mannerisms, like the constant slight waving of his hands, that really make him disappear into the character. Carey Mulligan, who plays Felicia, is absolutely Cooper’s equal. The subtleties of her facial expressions perfectly display her happiness and elation in the film’s first third and the eventual breaking point her character reaches later on.

I don’t have much else to say about “Maestro.” The music is expectedly fantastic, the emotional beats of the film stand strong, and this is just all around a real movie’s movie. Definitely check it out.

2. Poor Things (dir. Yorgos Lanthimos)

“Poor Things” tells the fairy tale-like story of Bella Baxter. The result of mad scientist Godwin Baxter’s experimentation, Bella is a grown woman with the brain of a child living in Victorian London. The film follows her as she comes to terms with polite society, her sexual identity, and the cruelty that exists in the world.

In short, “Poor Things” is interesting, enjoyable, and absolutely gorgeous to look at. Its production design is surreal, absurdist, colorful, and full of personality. It creates a world that feel straight out of the 1800s but with a futuristic twist. The film’s cinematography is wonderous, too. What really stands out are the many fish-eye shots, some of which are so wide they appear as a circular image with a black vignette around the edges. Regardless, the boldness and creativity of “Poor Things”’ look makes it an absolute feast for the eyes.

Lots of sex, lots of comedy, and lots of great performances fill the roughly 140 minutes of the film. Emma Stone is transformative, Willem Dafoe is stoic, Mark Ruffalo is outrageous, and Ramy Youseff is a welcome addition. Personally, the film didn’t connect with me emotionally as much as I was hoping for, but I’m sure a lot of that’s due to how young I am and how specifically it speaks to the female experience. Still, this was very good and I had a great time. The lovely score from Jerskin Fendrix deserves a shoutout, too. It’s weird, unsettling, and beautiful all at once—just like the film itself.

One thing I really admire about “Poor Things” is how natural it makes Bella’s progression from bumbling, socially unacceptable woman-child to presentable, well-spoken adult seem. There’s no one moment where you’re like “Oh okay, now she’s talking and walking normally”—the development of Bella’s verbal and physical presentation is slow, deliberate, and very natural. Much of that is due to Emma Stone’s incredible performance but also to the writing and direction from Tony McNamara and Yorgos Lanthimos respectively, both of which are really great throughout the entire movie.

So check out “Poor Things” for a fascinating look at the female perspective of polite society, sex, manners, identity, and more. But maybe don’t watch this one with your parents.

1. Oppenheimer (dir. Christopher Nolan)

There is so much to love about “Oppenheimer.” Recounting the life, trials, and tribulations of J. Robert Oppenheimer, the “father of the atomic bomb,” “Oppenheimer” is Christopher Nolan utilizing every tool in the director’s toolbox to the best of his ability.

I think what’s most impressive to me about “Oppenheimer” is how, across over three hours of scene after scene of people sitting in rooms and arguing, I never once felt like the film lost my attention. 180 minutes and my eyes were glued to the screen for every one of them. How is Nolan able to achieve this? Well, through a few different ways.

First, and probably the most prominent aspect of the movie, is the score. Ludwig Göransson’s electrifying original score is the driving force that underlies this entire movie. Strings take front and center here (just listen to “Can You Hear the Music?” for an example) while drums are entirely absent. This is purposeful, as Göransson and Nolan wanted to avoid the cliché of military- and war-centric movies over-utilizing drums. What’s also so laudable about “Oppenheimer”’s score is how it is used to give the movie a kinetic feel so that it never seems like the film is coming to a screeching halt. Even when the tension builds and the music swells to a climax and there is a fleeting moment of silence, a minute or so later, the music kicks back in and we’re back off to the races.

The ensemble cast of “Oppenheimer” is probably the film’s next-best aspect. Everyone from Cilian Murphy, on whose back the movie is carried, to Gary Oldman and Casey Affleck, who each only have one scene but absolutely steal the show, is on their A game. Emily Blunt brings a sense of stoicism and resilience to her character uncommon for a female character in a Nolan movie. In defiance of custom, Blunt stands her ground against Murphy and others, particularly in a certain interrogation scene near the end of the film. The only performance that doesn’t really click for me is Robert Downey, Jr.’s. After two viewings, I still find him to be a little too animated and not engrossed enough in his character for me to buy. Maybe it’s because he’s playing the character too similarly to his regular self, maybe my opinion will change once I watch it again. But for now, I find Downey to be one of the weak links in a sea of actors bringing their absolute best.

Additionally, “Oppenheimer” is incredibly well-written. The dialogue is riveting and engrossing, but I appreciated more the lines said in the second half of the film that were little callbacks to earlier. On a larger scale, “Oppenheimer” is able to balance two main storylines, various subplots and side characters, and still never feel like it’s too much. For that, it certainly deserves praise.

The themes of “Oppenheimer” are incredibly pressing, relevant, and thought-provoking, too. Focusing a lot on Oppenheimer’s own moral reservations while building the atomic bomb and after dropping the bomb on Hiroshima and Nagasaki, the viewer, too, is forced to question whether or not Oppenheimer is on the right side of history. And in doing so, motifs of loyalty, friendship, betrayal, and more are explored. There’s a certain line in the film’s final scene about salmon and potato salad that I didn’t expect to hit me as hard as it did.

So, all in all, if you didn’t watch “Oppenheimer” as a double feature with “Barbie” back in July and for some reason still haven’t in the months since, what are you waiting for? Go check out this gorgeous, important, thematically rich behemoth of a film.

So that brings us to the end of my list. Like I said at the beginning of this article, this year’s Best Picture nominees are strong, but there were definitely some films I loved from 2023 that I think deserve some recognition. So here are just a few.

My favorite horror movie of 2023 was “Skinamarink.” Unsettling, surreal, and utterly terrifying, many will find this plot-disregardful movie about a young boy and girl who wake up one night to find all the doors and windows in their house have disappeared to be boring. I found it to be the scariest thing I’ve ever seen in my life.

My favorite comedy movie of 2023 was “Bottoms.” A mix of “Superbad,” “Scott Pilgrim vs. the World,” and director Emma Seligman’s own “Shiva Baby,” this is the whimsical tale of two high school lesbians who start a fight club to get their crushes to notice them. It’s laugh-out-loud hilarious and filled with some great filmmaking, too.

My favorite animated movie and my favorite comic book movie of 2023 was “Spider-Man: Across the Spider-Verse,” the continuation of Miles Morales’ story as he journeys through dimensions and struggles to maintain his relationships with family and friends. The animation is next-level, the voice acting is incredible, and the character building is simply unmatched.

Finally, my favorite movie of 2023 was “The Iron Claw.” Recounting the real-life tragic story of the Von Erich wrestling family, this movie is heart-shattering and life-altering. Zach Efron delivers a performance up to which it feels his entire career has been building. I was left utterly speechless and in tears.

With that, I’ll bring this article to a close. We’ll see the results of the 2024 Oscars Best Picture Race in just a few days, and the ceremony in its entirety is sure to be an entertaining night. For now, I hope I’ve given some good recommendations and I hope 2024 turns out to be another great year for movies!