2026 Oscar Nominations (Reaction and Analysis)

Earlier today, actors Danielle Brooks and Lewis Pullman announced the 98th Academy Award nominations live from the Samuel Goldwyn Theater in Beverly Hills. And yes, the Oscars are still airing on ABC, at least until 2029 when YouTube obtains exclusive global streaming rights to the show, signaling the end of an era. This means all those complaints about how low the ratings have sunk will come to an end as the Academy makes a move that can't help but feel a decade late. And while it remains to be seen exactly how this will entice more viewers to watch a three and a half hour telecast or solve its formatting issues, it's a start. 

Until then, get ready for more business as usual. Regardless of how or where it airs, the Oscars do still represent the apex of the movie year for many hardcore cinephiles eagerly anticipating which of their favorite films made the cut. And for the directors, actors, producers, writers and crew all directly involved, the stakes couldn't be higher. On the bright side, there's good reason to be excited about the addition of the first new category in 25 years with "Achievement in Casting." It's a long time coming, even if voters went the predictable route of just cutting and pasting the top films into it. 

The morning's huge winner was Ryan Coogler's Sinners, which overperformed with a record-breaking 16 nominations, besting the 14 nod mark set by All About Eve, Titanic and La La Land. And as predicted, One Battle After Another fared extremely well with 13, even if it may not be as solid a lock for the big prize as we originally assumed. Guillermo del Toro's Frankenstein also cleaned up with 9, dominating the technical categories while also appearing in slots few expected. So now we'll see how much momentum all these films can retain heading into the Conan O' Brien hosted ceremony on Sunday, March 15th. But for now, here's look at all the morning's big surprises and snubs, along with my analysis. The full nomination list can be viewed at Oscars.org. 

-Sorry, but 16 nominations seems a little excessive for any film, and that's coming from someone who likes Sinners a lot. But what can you say? The movie just struck a chord with voters and possessed all the necessary components to cover a large swath of categories. The big shock was acting though. Very few even mentioned Delroy Lindo or Wunmi Mosaku as possibilities in the supporting categories, but here we are. Paul Thomas Anderson might be feeling a little more worried now. Can a vampire movie win Best Picture? We're about to find out. 

-Speaking of One Battle After After Another, there's no planet where 13 nods would ever feel like a disappointment. That said, Sinners definitely took some wind out of its sails, but as we know, a high nomination tally doesn't always equal the most wins, especially for a genre film. The more alarming development is Chase Infiniti missing Best Actress. This is what happens when a studio runs someone in the wrong category. Had they pushed her for Supporting, she'd be an Oscar winner. 

-The blockbuster Best Picture slot went to F1, as some had correctly predicted. The absences of Avatar: Fire and Ash and Wicked: For Good are glaring, especially since it would be quicker to name all the movies that didn't get in with such a massive field. The Secret Agent and Sentimental Value were the two chosen international entries to make the cut, but also had great showings elsewhere, joining Train Dreams in a contingent of tiny movies that could. Bugonia (!), Frankenstein, Hamnet and Marty Supreme rounded out the rest of the field.

-Aside from Amy Madigan's expected supporting nomination, Weapons drew blanks. And that's kind of surprising when you consider how much credit it's shared with Sinners for revitalizing Warner Bros., which was dead to rights before those two films emerged as runaway hits and primed the studio for a sale. But it looks like voters could only find room in their hearts for one horror entry. Knowing their history, it's a miracle they were even able to do that. 

-Zhao, Safdie, PTA, Trier and Coogler made the cut for Director and it's hard to call any of those a surprise. If you're not listed here your movie isn't winning Best Picture, which exposes the fallacy of an expanded ten nominee category. Del Toro's conspicuous by his absence, but with the amount of love Frankenstein's already received, it's hard to muster up too much sympathy. He'll be back. 

-Best Actor is the only category that went EXACTLY as expected, even if I'd like to see Bugonia's Jesse Plemons recognized. But with Chalamet, DiCaprio, Hawke, Jordan and Moura, it's tough to determine who voters would have picked for him to replace. But this is still Chalamet's to lose, with Michael B. Jordan suddenly finding himself in a better spot after what Sinners just pulled off.

-Kate Hudson: 2-time Oscar nominee. It's strange even typing that when you evaluate the actress's 25 year trajectory since being nominated for playing Penny Lane in Almost Famous, a role that should have launched her career into the stratosphere. But she lost and it didn't, only now returning to her roots with a comeback performance in Song Sung Blue, another musically themed picture. But the better news is that she didn't take Emma Stone's well deserved spot for Bugonia (which also nabbed Score and Screenplay nods). Both actressess join If I Had Legs I'd Kick You's Rose Byrne, Sentimental Value's Renate Reinsve and likely winner Jessie Buckley for Hamnet. The big omission was OBAA's Infiniti, and to a far lesser extent, Wicked: For Good's Cythia Erivo and longshot Amanda Seyfried for The Testament of Ann Lee.

- The OBAA combo of Penn and del Toro were always Supporting Actor locks, joining Frankenstein's Jacob Elordi, Sentimental Value's Stellan Skarsgård and Sinners' Delroy Lindo. This category mostly went according to plan, save Paul Mescal's snub for Hamnet and the surprise nod for Lindo, who joined Hudson and Mosaku in providing the auditorium with its biggest gasps and applause of the morning. 

-The Norwegian drama Sentimental Value scored big in the Supporting Actress category as both Elle Fanning and Inga Ibsdotter Lleaas get in, bringing that film's acting nomination total to four. This and its strong showing across the board make it one of the more notable, under-the-radar success stories of the season. OBAA's Teyana Taylor still has to be considered the frontrunner as Weapons' underwhelming haul might create an uphill battle for Amy Madigan. While Winmi Mosaku's inclusion is a shocker, it makes sense in hindsight, especially seeing how Sinners dominated.

-The casting category is already perplexing in its initial year. Who's to say even the greatest films necessarily represent a huge achievement in casting? Can't bad movies be well cast? Despite having never voted on this award before, the Academy somehow found a way to compile a list that feels like more of the same. Hamnet, Marty Supreme, OBAA, The Secret Agent, Sinners. It's strong casting all around, but they just cherry picked all the Best Picture nominees. 

-As for the technical races, I would have been thrilled to see James Price's imperative production design for Bugonia and Tron: Ares' visual effects (along with that Nine Inch Nails score) recognized, but it just wasn't meant to be. And in the case of the latter, it felt like the longest of long shots. But it was great to see The Lost Bus acknowledged for its tremendous effects, along with a Best Makeup nomination for The Smashing Machine, which strangely ended up having no worse a morning than Weapons did.

 

Bugonia

Director: Yorgos Lanthimos
Starring: Emma Stone, Jesse Plemons, Aidan Delbis, Stavros Halkias, Alicia Silverstone
Running Time: 118 min.
Rating: R

★★★★ (out of ★★★★)  

When it comes to successful director/actor collaborations, it's hard to find a recent creative pairing that's resulted in as many divisive opinions as the teaming of Greek filmmaker Yorgos Lanthimos and Oscar winner Emma Stone. And while their eccentric black comedies have pulled increasingly daring performances out of her, it's also further catapulted the career of an actress who's proven to be an ideal match for his idiosyncratic sensibilities. So just when it's popular for dissenters to complain they've worked together too much or a break would do both some good, a film like Bugonia comes along, reminding us what a terrible idea that is.    

For a little while, you may even trick yourself into believing this is somehow more accessible than The Favourite, Poor Things or Kinds of Kindness. Don't worry, it's not. Though undeniably funny at points, this is Lanthimos' bleakest, headiest film, despite the relatively straightforward, small scale thriller it masquerades as in its opening minutes. A scathing, pessimistic social commentary with a certifiably insane final act, it both confounds and enthralls, taking us on a wild trip down this Kubrickian rabbit hole by way of The Twilight Zone. Only when it's over will it start to make complete sense, forcing us to backtrack and reevaluate everything we originally assumed was true. 

High-powered pharmaceutical company CEO Michelle Fuller (Stone) is abducted and held captive in the basement of unhinged conspiracy theorist Teddy Gatz (Jesse Plemons) and his autistic cousin Don (Aidan Delbis). Accused of being a member of the Andromedan alien species, Teddy theorizes her kind have come to destroy the planet by killing off the honey bees and enslaving the human race. Shaving her head and covering her body in antihistamine cream, he gives Michelle four days to arrange a meeting with the Andromedan emperor before the lunar eclipse.

As Teddy eagerly anticipates the mothership's arrival on Earth, the kidnapped executive vehemently  denies his wacky accusations, offering to cut a deal for her release and warning him the authorities will eventually in. But as Teddy tortures Michelle, it's revealed her company's botched drug trial left his mother Sandy (Alicia Silverstone) comatose, shedding more light on a likely motive. But with Michelle plotting her escape as the eclipse rapidly approaches, Teddy remains committed to saving humanity.

Adapted from the 2003 South Korean film Save The Green Planet! this closely follows the original's narrative while still having its own unique and distinctive vision. It begins intriguingly enough, with an unkempt Teddy and Don training for something you'd assume is extremely bizarre just by how they talk, act and even look. But recreational beekeeper Teddy is the obvious leader, his brain so riddled from the dark web he's now dragged his emotionally vulnerable cousin along for the ride. He lectures a confused Don on aliens but it's unclear what his specific plan to stop it entails, at least beyond some yoga and a shopping trip to Goodwill. 

In juxtaposing Teddy's dark, isolated house from an earlier era with Michelle's ultra-modern residence, it soon comes into focus how their vastly different worlds will collide. She may be the target, but possesses more than enough self-defense skills to make her abduction difficult for these two bumbling country bumpkins. In her opening scenes she comes across as the portrait of control and composure at company headquarters, but the real power struggle begins once she's drugged, shaved bald and shackled to a bed. Teddy calls the shots, manipulating a hapless, reluctant Don to follow his lead as he tries to coax Michelle into admitting she's an alien with violent and antagonistic interrogation techniques. 

Teddy puts all three of them in a no-win situation since an alien isn't likely to admit they are one, especially if their species is orchestrating what he predicts. And even in the unlikely scenario that's true, he's not the guy topping anyone's list to rescue the human race from such a catastrophic threat. So when faced with this irrational captor, Michelle attempts to talk and reason her way out, verbally manipulating Teddy with the same cutthroat, disingenuous tactics she uses as a CEO. 

Stone gives her most complex, ferocious performance yet as character with unreadable dimensions, refusing to roll over or give in, no matter how precarious the situation gets. Physically and mentally, Michelle's put through the wringer while Stone ensures we never have her figured out, even as our feelings toward this woman shift with each shocking and unsettling development. She'll also undergo the most memorable one take head shaving we've seen since Natalie Portman in V For Vendetta.

While Michelle stands her ground opposite the trigger tempered kidnapper, we sense her battle might be as much about gaining the upper hand, even if Lanthimos knows audience sympathy will lay with a kidnapped woman over two men who aren't all mentally there. Michelle wisely plays Teddy's game before turning her attention toward the empathetic Don. Viewers will desperately want to believe she cares what happens to him, but he's just a pawn for both, and maybe the film's only true innocent victim. 

Suspicions Michelle is hiding something grow when flashbacks reveal how Teddy's mom suffered from her company's malfeasance. And the more we learn about Teddy's backstory, the murkier our feelings about her get, though not enough to seriously entertain his tinfoil rantings. The early introduction of local cop Casey (Stavros Halkias) appears to be obvious foreshadowing, but Lanthimos also subverts those expectations as the character unlocks another facet to Teddy's tragic past, confirming he's had it far worse than originally thought.

Recently called on to carry more films of this magnitude as a lead, Plemons brings a needed pathos to this conspiracy nut harboring a deeply personal grudge. He's so off-the-wall in his extreme methods that we cringe at the thought there's any truth to his ramblings, even as the actor subtly hints at how we may have seriously underestimated him. A more overlooked turn comes from autistic actor Aidan Delbis, whose Don lacks the emotional bandwith to deal with this situation, crumbling as he's led astray by a cousin he loves, but can't challenge.

Upon reaching the final act, there's a temptation to assume how it concludes, only to be blown away when these characters make decisions that cause us to rethink what's actually happening. What started as a thriller with satirical underpinnings takes an unpredictably crazy detour in its closing half hour, traveling down a road where any number of potential outcomes seem possible. That Lanthimos ends this as he does speaks volumes, further confirming he's a filmmaker incapable of playing it safe or taking the easy way out. So much so that even those on the fence are still forced to admit the execution is unforgettably haunting and ripe for repeated viewings, if only to confirm what we just saw with our own eyes.                        

The Best (And Worst) Movie Posters of 2025

While my choice for 2025's best "movie" poster is in many ways a first, the intention wasn't to go so far outside the box that a TV design would take the top slot. Yet that's exactly what happened, not due to a lack of viable candidates or this being an off year for movie art, but because it's simply better than all the worthy runners-up listed below. 

If anything, it was a strong 12-month run, silencing the usual naysayers who still stubbornly insist this art form is straddling the edge of extinction. And those accusations are getting tiresome, especially when you can easily round up a batch of 80 to 100 high quality one-sheets each year, many of which have abandoned photoshopped floating heads in favor of more illustrative approaches. 

What started as a hypothetical morphed into this one poster winning by a considerable margin, regardless of the medium it's intended for. And with the line separating movies and TV getting thinner by the day, you could argue whether this result was eventually inevitable. The rest are fine, just not necessarily different enough from what we're normally spoiled with each year. Still, there are many eye-catching designs below, followed by some true stinkers. A reminder that only posters dropped during 2025's calendar year qualify, regardless of the film's expected release date.                           

 

The Best...

10. Hard Truths

Desi Moore's beautiful illustration for Mike Leigh's Hard Truths says all that's necessary with a simple, striking portrait of Marianne Jean-Baptiste's embattled protagonist Pansy. You don't even need to know what this film's about to appreciate what it says. We're given enough to deduce she's in enough emotional distress to wilt away before our eyes. From that look of resigned pain to those falling stems enveloping her and falling onto the bright yellow title, it's an unforgettable image.

9. Jay Kelly

Polish poster artist Aleksander Walijewski's design for the exclusive 35mm engagement of Noah Baumbach's Jay Kelly topped many "best of" lists, even when the film itself didn't. While I'm not quite as impressed by this as some, part of that could stem from the fact an artist as talented as Walijewski is always competing with himself and his previous work. The visual metaphor is clear, with the film strip representing the title character's unraveling life as he leaves behind a trail of familiar faces from his past and present. It's an uncanny illustration of Clooney and the black cursive typography lends this a throwback feel appropriate for its subject. And while white suits against white backgrounds aren't usually advisable, it's effective here in conveying Jay's gradual disappearance from his own life.       

 

8. Death of a Unicorn    

Death of a Unicorn's teaser poster was admittedly clever, but this Tony Stella design is on another level, employing a style and approach that invokes warm memories of the late, great Drew Struzin's iconic 80's art. That's some company to be in, and of the current artists attempting the same, Stella comes closest to channeling the master (look no further than Dial of Destiny). If there's a difference, it's that his work tends to skew darker, frequently matching that film's tone. His ability to convey Unicorn's magical realism makes the movie look better than it actually is, giving off some serious Labyrinth, The Dark Crystal and The Neverending Story vibes, especially with that border and all the characters contained therein. Those illustrations of Ortega and Rudd are particularly amazing, but the whole piece promises a twisted fairy tale come to life.      

7. One Battle After Another  

While not an officially commissioned poster for Paul Thomas Anderson's spectacular One Battle After Another, it may as well be since the "official" ones are awful, failing to capture the scope and grandeur of 2025's defining film. But this piece designed by Italian artist Alessandro Montalto (A.K.A. Nocturnal Layouts) accomplishes that and then some. Much like Death of a Unicorn and the selection you see below, it's another Struzan-inspired design executed to perfection. And it may be the most vibrant, with the yellows, reds and browns leaping from a collage that perfectly captures the propulsive, chaotic nature of the film and its core characters.  

 6. Eddington  

Here's another illustrated poster, this time by artist Jack C. Gregory for Ari Aster's polarizing political satire Eddington. Between this, Death of a Unicorn and One Battle After Another, it's fair to categorize this approach as 2025's defining poster trend. And of the three, this is probably the cleanest and most easily identifiable. The orange and beige color scheme is sensational, the painterly likenesses spot-on, and it doesn't feel overcrowded. Even those who love the movie would probably admit it's somewhat of a mess so credit A24 for cleverly embracing that quirkiness, as they often do. As for the photographic teaser, U2 got there first, but the black and white image of a herd of buffalo following each other off a cliff couldn't be a more apt analogy for the film while that bright orange title font now feels like Eddington's calling card. But it's the brilliant tagline ("Hindsight is 2020") that takes this over-the-top.                 

  

5. Die My Love 

Using film stills for posters is a risky proposition that can pay off. Such is the case with the one-sheet for Lynne Ramsey's Die My Love, which stars Jennifer Lawrence as Grace, a young mother who goes mad, much to her helpless boyfriend Jackson's (Robert Pattinson) horror. Since Lawrence is no stranger to risky projects or appearing on the crazy great posters accompanying them, this is just another day at the office for her. But if you're picking a shot to capture moviegoers' attention, it doesn't get more evocative or thought provoking than this. 

A mystery wrapped in an enigma, her protagonist looks hypnotizingly numb, physically present but emotionally elsewhere as confetti falls on her face into her mouth. Head back, eyes closed, she's someplace else. But where? The juxtaposition of Grace's body language and trance-like expression with the raucous party is jarring. As is the large, bright white title treatment and unusual spacing, further reinforcing the character's disorientation. It's an image begging and daring us to find out more.           

 

4. The Life of Chuck   

Mike Flanagan's adaptation of Stephen King's The Life of Chuck is an abnormally structured, shockingly moving mix of apocalyptic thriller, musical and coming-of-age drama that defies standard classification, earning a place alongside the author's best adaptations. But for a while there was reason to worry this wouldn't get a poster it deserved, especially since some of its early designs highlighted the marketing challenges such a unique movie faces. It's not as if those posters were terrible, but they felt hamstrung by the vagueness required to conceal the film's mysteries and revelations.  

This illustration finds a way in, showing just enough to generate curiosity and intrigue. All three sections of its non-linear structure are linearly represented by Chuck at the different ages at which he appears, its memorable supporting characters reflected in his glasses. It's a creative concept that also matches the movie, and though the credits are sort of an afterthought, that's understandable considering our eyes are immediately drawn to the three faces. Those who saw the film should only appreciate this that much more.     

  

 3. The Secret Agent

 

For comparison's sake, here's the official poster for director Mendonça Filho's Brazilian political thriller The Secret Agent and its textless version below. I'm a little mixed on which is superior since less text frequently seems preferable, no matter how eye catching the font or title treatment. But even if the absence of credits in this instance further emphasizes an incredible illustration, the poster also looks a little naked without them since typography is as much a part of the design presentation as any image, often in ways not immediately noticeable to the naked eye. 

Still, both of these are magnificent, largely because it so accurately invokes the quintessential late 70's/early 80's style of poster that would accompany this movie if it premiered in the era its story takes place. It's no homage or knock off, but the real deal, more authentic looking than many of the retro one-sheets that inspired it. Only adding to its uniqueness is how all three faces belong to various incarnations of Wagner Moura's title character, a scientist who inadvertently becomes a target of Brazil's military dictatorship. But as amazing as the illustration is, it's tinier, subtler details like those shadowy figures in the foreground and a passport stamp in the corner that leave an equally large impression.                    

 

2. Bugonia

Another year, another wonderfully odd and insane Vasilis Marmatakis poster for a Yorgos Lanthimos film starring Emma Stone. And if his movies aren't already weird enough, the artistic inspiration they provide for its marketing is always on point, with Bugonia joining The Favourite and more notably 2023's Poor Things as some of the more ambitious poster art we've seen this decade. There's definitely a touch of Radiohead's The Bends in this image, only a whole lot slimier and more disgusting, as the bald Stone's abducted pharmaceutical CEO Michelle Fuller is drenched in a cream familiar to those who've seen the film. 

With her face dripping in that crimson, yellowish goo, it's almost as if Stone's character is fighting to escape and get air while the fluid spreads, doubling as a fitting visual metaphor for the story. Eyes looking upward, there's a claustrophobic helplessness to her situation that's uncomfortably mesmerizing to watch despite its ickiness. And that futuristic Churchward Roundsquare title font will now exclusively be identified with this film, its bold usage only amplifying the quirky sci-fi thriller's futuristic tone and style.  

                    

  1. Pluribus

Sharing little in common with Breaking Bad or Better Call Saul besides an Albuquerque, New Mexico setting, Vince Gilligan's highly anticipated post-apocalyptic sci-fi series Pluribus is unmistakably its own thing, And that's really all we could have asked for. While predictions will vary on where the premise goes from here, few could argue it's made with the same care and quality we've come to expect from the showrunner. If nothing else, he's earned our trust to take the ride, with this poster reeling us in before even a single episode aired. 

Simple, sharp and uncomplicated, it immediately grabs hold, at least partially due to a bright school bus yellow color you don't see every day. And just look at all that negative space, save for the cleverly stylized "Plur1bus" title and a surprisingly unobtrusive Apple TV Plus logo on top. But it all comes down to illustrator Michael Koelsch's awesome rendering of Rhea Seehorn's understandably cranky pirate romance novelist Carol Sturka screaming into the abyss. About as truthful a depiction of her maddening situation as it gets, the image looks accurate enough to be mistaken for a real photo. The choice to cut her off at the bottom with hair wildly flailing hammers home this existential crisis. It all makes perfect sense to those who watched this series while still piquing the curiosity of anyone who hasn't.                       

Runners-Up

 

 

 

 

 

 

 

 

And The Worst... 

Just when you thought his Batfleck days were over, Ben Affleck returns in a very DC adjacent one-sheet for The Accountant 2, this time parodying a poor man's Riddler from The Batman. 

How I Met Your Mother: The Movie. Photoshopped actors, a title treatment you'd sooner see in the supermarket aisle, a silly tagline and a poor visualization of its time-hopping door motif. But what's worse is how safe and sterile it looks, more closely resembling a corporate travel guide than a movie poster.  

At least this looks fun bad and the idea of a Currey/Gardner Fall reunion is exciting. But photoshopped dogs is where I draw the line. And how they separately cut and pasted the three stars onto a background that looks like one of those screens you'd use during Zoom calls to pretend you're on vacation. Hopefully somewhere nice, with exploding boats.       

 

And you thought his final match was bad. Difficult to even find the movie's title, until you realize it's directly above that eyesore of a Prime logo. There are other character posters but the Cena's is just too easy. 

A digital work of art. You could complain how this woman looks nothing like Scarlett Johansson, but if we're going there, that doesn't look much like a cliff, waterfall, rope or dinosaur either. At least the poster's consistent.   

 

A bad concept that somehow came out looking worse than was likely envisioned. Placing actors inside a silhouette almost always fails but this is particularly clumsy due to the layout. The credits are oddly placed in relation to the title and that's not even getting into the awkward photoshopping or hideous background color. Total disaster all around.   

On the bright side, the movie's only 90 minutes. But there's a 97.5% chance I may have laughed after seeing this poster, which is buried beneath a tremendous amount of text. It's hard not to smile at the audacity of its plot, which could be thrilling if you enjoy watching Chris Pratt try to outwit an AI based justice system from the comfort of his own chair. At least Rebecca Ferguson still looks cool doing anything.        

According to the blurb on top, "It's a Powerhouse Return To Oscars Form For Russell Crowe" Well, he's in some kind of form, but it has little to do with awards. And have you ever seen a group of actors superimposed in front of a sliver of a screenshot like this?   

We can laugh now, but when this generic one-sheet for One Battle After Another first dropped it was tough to accept this as the promotional material for one of our greatest directors' most anticipated films. But while the advertising still didn't improve with its subsequent character posters, the movie still delivered in spades. And at least we'll always have that great alternative design, which is a relief since gun toting Leo in a bathrobe just wasn't cutting it.      

Forget about the poster. Let's talk about Pete Davidson's character. So many questions. Is he a security guard? Has he been kidnapped? Is he a pro? Or a con? And whoever this guy is doesn't resemble Eddie Murphy at all. The bills are a nice touch, along with that hilariously gigantic title. 

Damon and Affleck reteamed for a Joe Carnahan Netflix cop movie? The RIP might look DOA but at least it can't be as bad as this poster... can it? Its transparent title and laugh out loud tagline are certainly choices, but the whole thing reeks of executives just giving up and throwing their hands in the air. "Fine, we'll do it."  

 

DC should have quit while they were ahead with these. The first teaser was really strong and the runner-up above creatively paid homage to the Reeve films. Unfortunately, pesky franchise obligations dictate we need dozens of character posters and Superman's somehow turned out the worst of all. It's the kind of image we feared seeing when the film was first announced. Luckily, the movie was good enough to overcome it.   

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