
BEST PICTURE
The Big Short
Bridge of Spies
Brooklyn
Mad Max: Fury Road
The Martian
The Revenant
Room
Spotlight
Should have won: Mad Max: Fury Road
Not even nominated: Inside Out
Along with 2017 and 2023’s batches, this is the strongest slate of the Academy’s expanded era, with not a dud in the bunch. While I certainly prefer some of these movies to others, this is a fantastic group that includes mega-blockbusters, tiny indies, and the kinds of adult dramas Hollywood shows no interest in making anymore. The latter ended up taking the top prize, and only one other Oscar, making it the winner with the fewest overall awards in modern times. And Spotlight is an exceptional film about the real journalists who help expose the network of abuse and corruption in the Catholic Church. But there are stronger choices here, and none of them are as awe-inspiring as Mad Max: Fury Road. It’s an absolutely insane action film that shouldn’t work, but provides non-stop thrills and themes that remain relevant.
But with two extra slots, I’m surprised Inside Out didn’t make it in when Up and Toy Story 3 had made it previously. It’s just as good as those Pixar films, if not better, dealing with complex emotions in ways kids can grasp but only adults can truly understand. It remains my favorite film of 2015.

BEST DIRECTING
Adam McKay, The Big Short
George Miller, Mad Max: Fury Road
Alejandro G. Iñárritu, The Revenant
Lenny Abrahamson, Room
Tom McCarthy, Spotlight
Should have won: George Miller
Not even nominated: László Nemes, Son of Saul
Giving this to Iñárritu one year after Birdman is crazy, even if The Revenant is a stronger feat of filmmaking. It’s especially baffling given that George Miller, an idiosyncratic Aussie whose films are one of a kind, was right there. The Revenant certainly has a grand scope worth of awards. But it doesn’t hold a candle to even a jaw-dropping frame of Fury Road.
And speaking of jaw-dropping, the Oscar winner for Best Foreign Language Film is one of the most harrowing things I’ve ever seen. That’s because Nemes – in his feature debut! – immerses us in the everyday horrors of Auschwitz and the ways its prisoners attempt to remain human even as they’re degraded and slaughtered.

BEST ACTOR
Bryan Cranston, Trumbo
Matt Damon, The Martian
Leonardo DiCaprio, The Revenant
Michael Fassbender, Steve Jobs
Eddie Redmayne, The Danish Girl
Should have won: Michael Fassbender
Not even nominated: Paul Dano and/or John Cusack, Love & Mercy
DiCaprio got his first, long-overdue award. But since I’ve already given him two, I’ll take his trophy and give it to Fassbender, who churned out several incredible performances in the eight years between this and his debut in 300. While he should have been nominated and probably won for both Hunger and Shame, he’s magnificent as the Apple founder despite looking nothing like him. Part of the film’s success is Aaron Sorkin’s terrific script (more on that later), but Fassbender makes him a distinctly brilliant asshole.
Love & Mercy is arguably the only post-Walk Hard music biopic that’s worth a damn. Splitting the duties between Paul Dano and John Cusack, the film is much more interested in exploring Brian Wilson’s mental illness and exploitation than in celebrating his genius. They’re both terrific – with Cusack locked in for the first time in years – and create a portrait of one of the greatest popular musicians that’s neither hagiography nor takedown.

BEST ACTRESS
Cate Blanchett, Carol
Brie Larson, Room
Jennifer Lawrence, Joy
Charlotte Rampling, 45 Years
Saoirse Ronan, Brooklyn
Should have won: No complaints here
Not even nominated: Nina Hoss, Phoenix
It’s pretty baffling why Larson, a terrific actress and (at least seemingly) a very nice person has gotten so much online hate over the years. Sure, y’know, misogyny, but she’s been a very specific target for some of the most vile shit you’ll ever read. This is another case where a performer should have won for a movie that went completely overlooked (Short Term 12), but she’s just as good here as the imprisoned mom who has trouble readjusting to life on the outside.
And while I am a huge J-Law fan, we can forget Joy ever happened and replace her with Nina Hoss, whose multi-layered performance in Phoenix left me spellbound.
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