Last year, I gave out the first Film Obsessive Alternate Oscars where movies that weren’t recognized at the Oscars—but maybe/probably should’ve—are properly honored. I also created some categories the Academy should look into adding. Same rules apply: the films you keep hearing about (ex. Anora, The Brutalist, Emilia Pérez, etc.) will not show up here, or if they do, it’ll be from aspects that I felt were not talked about enough.
If there’s one word to describe this award’s season, it would be messy. From The Brutalist‘s AI controversy, Anora’s lack of intimacy coordinators, Brazilian film fans showing their passion for I’m Still Here, and Karla Sofía Gascón’s offensive and racist tweets, it’s been eventful, to say the least. No one can make heads or tails of the Oscar nominations: Emilia Pérez leads the pack with 13 nominations (tied for second most in Academy Award history) and, yet, is there someone who genuinely likes that movie? Nickel Boys makes it into Best Picture and Best Adapted Screenplay, but is completely absent from Best Director. Sing Sing, once thought to be a sure-shot Best Picture nominated, didn’t crack the top-ten. Wicked gets nods for Best Editing and Best Original Score, two places (of many) where Dune: Part Two wasn’t even close to contending—and, in Best Score, ineligible.
Messy, with a capital M.
The race has never been this uncertain in many years and, typically, that would be exciting. However, all these scandals put an odd vibe at these upcoming ceremonies. It will be fascinating to see how voters react to all of this and if it leads to once-thought locks to be in a far more vulnerable spot. This has truly become a Conclave (cue Stanley Tucci exalting, “This IS a war!”). However, amidst all this mess, there is a silver lining. There are Oscar-nominated movies worth celebrating and many more that weren’t nominated.
On with Film Obsessive’s Alternate Oscars show!

Best Picture
- Rebel Ridge
- Hit Man
- Juror #2
- Furiosa: A Mad Max Saga
- The Wild Robot
- Nosferatu
- Babygirl
- A Different Man
- Sing Sing
- Challengers
Netflix has become the place where movies are forgotten, largely due to their refusal of theatrical releasing their originals. Even their originals that have limited theatrical windows (for Oscar eligibility) fall into a void. Which is unfortunate, since two Netflix originals—Rebel Ridge and Hit Man—are two of my favorite movies of the year. Rebel Ridge felt like a “meat-and-potatoes” movie and gives you everything you would want from an action-thriller. Great performances, good set-pieces, crackling dialogue, corrupt cops, a hero that will not stop at any cost, I could go on. Hit Man is essentially an Alfred Hitchcock movie mixed with a ‘30s-’40s screwball comedy, featuring two of the hottest people in Hollywood. 116-minutes of pure entertainment and the definition of a rewatchable movie. Both of these suggested films for the Alternate Oscars will be in my rotation and I hope for others as well.
Juror #2, Furiosa: A Mad Max Saga, and The Wild Robot brought back some of our favorite directors with stuff that’s up their alley. With Juror #2, a spry 94-year-old Clint Eastwood makes an engaging and thought-provoking legal thriller that feels as if it was made in 1994 (complimentary). It features an ending that left my jaw dropped and a captivating central performance from Nicholas Hoult that I could not stop thinking about. Furiosa: A Mad Max Saga was disrespected at the box office, primarily because it wasn’t Mad Max: Fury Road (and it wasn’t trying to be). Furiosa may have its flaws, but it’s a striking and frequently astonishing film. There’s no one who does set pieces like George Miller and Furiosa shows he’s still the king. With The Wild Robot, one of the industry’s best animators, Chris Sanders, makes a sure-to-be classic animated movie. No film had more heart than this one while being utterly gorgeous and hilarious. If I could talk to Sanders, I would tell him I need a spin-off of the death-obsessed opossums ASAP.
Nosferatu, Babygirl, Sing Sing, and A Different Man are in a group that I would like to call “New Kids on the Block.” These films are helmed by younger directors who are working on a different level. Nosferatu takes a timeless story and imbues it with horrifying images, dark comedy, psychosexual dynamics, and Bill Skarsgård doing a voice. Basically, it absolutely rules. Speaking of things ruling, pardon my language, but it’s fitting to say Babygirl f*cks. A rollicking black comedy about an illicit relationship between Nicole Kidman and Harris Dickinson is the Christmas movie you didn’t know you needed. Both Sing Sing and A Different Man feel like personal films. There is so much care and dedication in these films, it’s a shame they weren’t considered locks for nominations.
The most fun I had at the movies in 2024 was, without a doubt, Luca Guadagnino’s romantic sports dramedy Challengers. What an absolutely awesome movie! Where do I start with this masterpiece? The excellent and tricky script by Justin Kuritzkes? The insanely good techno, synth score from Trent Reznor and Atticus Ross? The three leads at the top of their game? Or the fact that Guadagnino made a movie for people who just love movies. It’s funny, thrilling, romantic, sumptuous, sexy, sad, technically proficient, it has everything you want in a big-budget film. There’s not enough time to bemoan how dirty the Academy did Challengers but it getting a goose egg on nomination morning tells you everything that’s wrong with the Oscars. As Tashi screams at the end, “COME ON!!!!”
Alternate Oscars Winner: Challengers

Best Director
- Luca Guadagnino, Challengers
- Robert Eggers, Nosferatu
- Denis Villlenueve, Dune: Part Two
- Aaron Schimberg, A Different Man
- Chris Sanders, The Wild Robot
I just spoke about how Challengers rocks from top to bottom and none of it would have been possible without Guadagnino. No one quite understands sex as well as him and no one is as good as him at capturing it on-screen. With minimal sex scenes, Guadagnino finds a way to make tennis sexy. For that alone, he deserves a spot here. Everything from the way he gets performance out of his actors to what skin care products the characters are using is intentional and his efforts show up in the final product—to great success.
Eggers has carved out a niche for himself, to the point where you can tell visually whether you’re seeing a Robert Eggers joint. I really like it when a director has their own visual flair and makes their films unabashedly theirs. Eggers has gravitated toward classical tales and adapting them to be big, beautiful epics featuring some of our biggest stars. Clearly, there is a desire for his endeavors with Nosferatu making over $150 million at the box office. Nosferatu is gorgeous, bold, and self-aware, something Eggers does time and time again.
Sanders is in a tier of his own amongst animators and The Wild Robot has his trademark heartwarming touch. Animation directors are not acknowledged in this category, ever, and it’s about time they are. It’s incredibly hard to make an animated movie and to have the vision to make some of the most creative frames to grace the scene should be lauded and Sander’s work on The Wild Robot is award-worthy.
Schimberg’s balance on tone in A Different Man is what gets him in this prestigious group. One misstep here, a little too much comedy, or a little too disturbing, and A Different Man is a disaster. But, Schimberg ensures that the audience is feeling the right amount of cringe and humor to keep our eyes glued to the screen. It is truly a masterful effort from him in a terrific movie.
It goes without saying, Denis Villenueve should be running away with this award. I’m not talking about this made up exercise but at all the award ceremonies. It baffles me that the average Academy voter puts on Dune: Part Two (or Part One for that matter) and doesn’t finish the movie thinking, “how in the world did someone make that?” The world of Dune feels so realized with its grand scale and meticulous crafting. It’s all because of Villenueve. He has created a landmark duology, one that will be talked about for years to come. It’s shameful that the director’s branch doesn’t view sci-fi as a legitimate genre. One day, Villenueve will win an Oscar—and we’ll still be thinking why he never got close to winning for Dune: Part Two.
Alternate Oscars Winner: Denis Villenueve, Dune: Part Two

Best Actress
- Nicole Kidman, Babygirl
- Juliette Gariépy, Red Rooms
- Zendaya, Challengers
- Anya Taylor-Joy, Furiosa: A Mad Max Saga
- Lily Rose-Depp, Nosferatu
Kidman gives one of the boldest performances of the year in Babygirl as a high-powered CEO who wants to be dominated in bed. She bares it all—literally and figuratively—allowing herself to be the perfect muse for director Halina Reijn. She has electric chemistry with Harris Dickinson and is game for whatever the movie asks of her. Similarly, Gariépy leaves no stone unturned in a frightening and equally-as-bold showing in Red Rooms. I won’t reveal much, but very rarely has someone’s intentional expression-less face scared me as much as Gariépy’s did. Her transformation during the trial and climactic poker game are seared into my brain and largely because of Gariépy’s dedication.
Zendaya and Anya Taylor-Joy are two of our best young stars and are unequivocally the stars of their respective movies. Zendaya plays her two co-leads like a tennis ball being hit back and forth and is having the time of her life. It’s a traditional movie star role, where Tashi knows she’s a big deal and acts like it. It’s the role Zendaya was born for and she doesn’t disappoint. Taylor-Joy has a difficult task of playing an iconic character previously portrayed by Charlize Theron. She captures Theron’s voice eerily well but is able to make Furiosa her own. Taylor-Joy takes us on this operatic journey of how Furiosa becomes Imperator Furiosa mainly through her eyes. Taylor-Joy’s eyes are her biggest asset and she uses them incredibly to show us the trials and trauma Furiosa experiences.
Convulsing, writhing, drooling, screaming, contorting, and screaming, Lily Rose-Depp in Nosferatu may have been my favorite non-Mikey Madison performance of 2024. Watching this dedicated and phenomenal performance prompted a big “I was not familiar with your game” from me to Rose-Depp. I left Nosferatu utterly impressed with the physicality and commitment the former The Idol star uses. There were parts where I genuinely couldn’t comprehend how she was getting her body to do some things. I was even more shocked to find out no doubles or CGI was used. Ellen is the driving force of Nosferatu and a bad performance would’ve sunk the movie. Not only does Rose-Depp keep it afloat, she is the primary reason why the movie is successful.
Alternate Oscars Winner: Lily Rose-Depp, Nosferatu

Best Actor
- Hugh Grant, Heretic
- Josh O’Connor, Challengers
- Josh Hartnett, Trap
- Glen Powell, Hit Man
- Jesse Eisenberg, A Real Pain
Kieran Culkin is getting all the praise and awards for A Real Pain, and I’m not mad about it at all. I love Culkin. I think he’s very good in the movie, but I would argue Jesse Eisenberg has the better performance. Not only that, I think Eisenberg plays a harder character better than Culkin plays what is ostensibly a Roman Roy clone. Eisenberg’s David doesn’t come off as likeable but he gets you to empathize for him and really for him. Sometimes, we’re David and there’s no way of shaking it off. I was hoping Eisenberg would have surprised us on nomination morning, but his time will come.
Listen, Hugh Grant explains monotheistic religions to two Mormon missionaries using different versions of Monopoly in Heretic and it is glorious. Grant is having an absolute ball in this enjoyable movie and it’s actually a really smart performance if you think about it. Grant started off as someone who exudes charm and then gradually got the reputation of being snarky. In Heretic, he’s able to combine them both and gives what is perhaps his best performance. Bad Jar-Jar Binks impression aside, Grant stays winning.
We are living through the Hartnettissance and what a time to be alive! After his excellent supporting turn in Oppenheimer, he leads M. Night Shyamalan’s twisty and endlessly fun Trap. Many memes were created, but Josh Hartnett is dedicated and totally gets what Shyamalan is going for. Those who have the audacity to say he’s bad really don’t know what they’re talking about; this is a fantastic performance. After rightfully nominating Glen Powell last year for Anyone But You, he’s back for my favorite performance of his as Gary in Hit Man. Suave, nerdy, goofy, welcome back Cary Grant. I haven’t seen anyone from this younger generation of actors channel Golden Age Hollywood actors as much as Powell (maybe Mike Faist). He is a special talent and his chemistry with Arjona is one for the ages. Watch him in the “Notes app” scene and try not to clap when he winks at the end. He’s a superstar, folks.
Above, I was praising Zendaya in Challengers and, as good as she is, Josh O’Connor steals the show. Patrick Zweig, you will always be famous. I can’t remember last time a character that was this slimy, this devious, and yet so captivating. Most actors would’ve made Patrick a one-note villain but O’Connor adds so much depth to the character that elevates him off the page. Ultimately, the performance is so good that you oddly root for Patrick to get away with his devilish tricks. The little smirk O’Connor does is all you need to be sold on this guy. It’s a star-making performance, and Josh O’Connor, you are one of the shiniest ones out there.
Alternate Oscars Winner: Josh O’Connor, Challengers

Best Supporting Actor
- Denzel Washington, Gladiatior II
- Clarence Maclin, Sing Sing
- Gabriel LaBelle, Snack Shack
- Jason Bateman, Carry-On
- Brian Tyree Henry, The Fire Inside
One of the biggest snubs for the Alternate Oscars was Clarence Maclin not showing up in Best Supporting Actor. It’s really unfortunate because, not only is Sing Sing an extremely personal and autobiographical project for him, he is fantastic in the movie. It’s not easy to go toe-to-toe with Colman Domingo and, not only does Maclin do that, he arguably outshines him. Maclin is remarkable and deserves a ton of love.
I can envision Maclin becoming one of our great actors, just like I knew immediately that Gabriel LaBelle would be a star after The Fabelmans. All that stock I bought has made me a millionaire after his performance in the wonderful Snack Shack. His character Moose is loud, charming, a bit of a jerk, and acts like the world revolves around him. It’s a performance that feels lifted out of a John Hughes movie in the best way. Get on the LaBelle bandwagon while there’s space.
Two of the more consistently great actors working in Hollywood are Jason Bateman and Brian Tyree Henry. Bateman gets to show his villainous side in the fun Carry-On and uses his deadpan delivery to be menacing and ensure Taron Egerton has the worst day at work. He’s the MVP of what is trending to be one of Netflix’s most popular movies. And, for Henry, it’s a matter of when, not if, he’ll win an Oscar. His outing in the underrated The Fire Inside made me want to join his boxing club. With every character he plays, there’s humanity and an abundance of emotions. One of the best, truly.
Alas, it is Denzel Washington’s scene-stealing—perhaps, movie-stealing—performance as Macrinus who takes the statue. Gladiator II is a messy and fun blockbuster and Washington is the only reason the film stays together. This is a character I don’t think we’ve seen Washington play before. He’s constantly scheming, trying to reach the top. In a sudden moment, he can go from friend to foe (and even murderer). There’s scenery chewing, menacing glares, bodacious laughter, and even dap ups. Denzel is the man and still has the ability to make someone else’s movie his.
Alternate Oscars Winner: Denzel Washington, Gladiator II

Best Supporting Actress
- Rebecca Ferguson, Dune: Part Two
- Margaret Qualley, The Substance
- Adria Arjona, Hit Man
- Joan Chen, DIDI
- Charlee Fraser, Furiosa: A Mad Max Saga
Rebecca Ferguson might have taken the crown from Zoe Saldaña as IP Queen with her presence in the Dune and Mission: Impossible franchise. Her return as Lady Jessica in Dune: Part Two is bigger and better, and shows the extent a mother will go to see her son succeed. Ferguson’s commitment to the material is always admirable, but I really enjoyed her showing her conniving side once she becomes pregnant with Alia. Her chilling line delivery of, “The holy war begins” at the end of Dune: Part Two is seared into my brain.
Demi Moore is getting all the accolades and love for The Substance (as she should). That said, I think we’ve forgotten how fantastic Margaret Qualley is in it as well. The movie does not work without either of them and Qualley unraveling in the final third of the audacious film is a big highlight. She should’ve been nominated just for the way she exalts, “CON-TROL YOUR-SELF!” Similarly, I think Charlee Fraser plays an important counterpart to Anya Taylor-Joy in Furiosa: A Mad Max Saga. Even though they don’t share any scenes together, seeing the trials and tribulations Furiosa’s mother had to go to is vital for the story. Fraser is electric in the role. She rides the motorcycle and performs action like a total badass. I’m really excited to see what she does next.
Hit Man wouldn’t be the entertaining movie it is without its tremendous and stunning co-lead Adria Arjona. Going from damsel in distress to femme fatale with ease, this is one of the most fun performances of the year. She had scintillating chemistry with Powell and conveys so much with just her eyes and facial expression. Look no further than the iconic “Notes App” scene (more on that later) where she’s supposed to be yelling but can’t help but be endlessly charmed and excited by Powell. I’ve mentioned many line readings but my favorite line reading of the year, hands down, is when Arjona says, “Who the f-ck is Gary?!”
It’s Joan Chen in DIDI, however, who absolutely won me over. I think DIDI is quite good and Chen’s nuanced, heartfelt, and touching performance as Didi’s mom is extraordinary. She’s given the mother role in a coming-of-age movie, an often thankless role. Similar to Macrinus in Gladiator II, one could argue that Chen steals the movie in DIDI. That maybe, it’s not about Didi coming of age in 2008 but about the sacrifices our parents make for us. Every scene she’s in is exceptional, especially the ending which I urge people to watch without getting teary-eyed. A hall of fame mother performance.
Alternate Oscars Winner: Joan Chen, DIDI

The following Film Obsessive Alternate Oscars categories are categories that I believe the Academy should implement:
Best Scene
Some honorable mentions:
- Paul’s Speech from Dune: Part Two: The walk into this speech could have made it onto this list but I felt something in my bones when Paul tells his followers he will take them to Paradise. Incredible stuff from Villenueve and Chalamet.
- Bench Talk from Juror #2: Speaking about the morality of justice in front of courthouse statues may be a little too on the nose, but Clint Eastwood, Nicholas Hoult, and Toni Collette make it one of the most captivating and thought-provoking scenes of the year, where you feel the big secret could come out at anytime.
- Las Vegas from Anora: What a whirlwind sequence that makes you feel the power of the movies, filled with fun, bright lights, and a perfect song! The sequence where Ivan asks Anora to marry him is the cherry on top, causing the viewer to feel extreme happiness and anxiety for what’s to come.
- Dinner Monologue from A Real Pain: As I said above, I think Eisenberg is phenomenal in A Real Pain and this monologue shows his immense talent. It’s sad, awkward yet profound and allows us to put ourselves in David’s shoes.
- Gas Station Delivery from We Live In Time: This is a hilarious and earnest scene from a movie I adore. Let Andrew Garfield and Florence Pugh make 100 more of these.
- New Year’s Eve Show from The Substance: This is a if you know you know type situation.
- Macrinus’ Speech from Gladiator II: “I must have POWER.” Enough said, Denzel Washington GOAT.
- Migration from The Wild Robot: The score, the animation, the voice acting, and everything about this sequence is full of heart, and one I plan to watch over and over again.
- Epic Speech from Furiosa: A Mad Max Saga: Chris Hemsworth is also excellent in Furiosa and him asking her, “Do you have it in you to make it epic?” is an iconic moment. Her pain and anguish are all on display in this epic sequence.
- “What kind of American are you?” from Civil War: This isn’t one of my favorites movies from the year, but the fear and anxiety I felt during this sequence was one another level. Jesse Plemons, phew.
- Town Hall Meeting from Evil Does Not Exist: Corporations will never have our interests on their mind and it’s up to us to make a change. Keep pressing them and make them uncomfortable.
- “You could never please me as he could” from Nosferatu: This was the best of the contorting Lily Rose-Depp scenes. Incredibly funny and frightening—the perfect Robert Eggers scene.
- “It Ain’t Me Babe” from A Complete Unknown: Monica Barbaro never singing before this movie and being able to sing just like Joan Baez is insane and, in a movie full of amazing music sequences, nothing comes close to this one.
- Notes App from Hit Man: The screwball comedy is alive and well and the Notes App scene is worthy of applause, especially when Powell winks to both Arjona and the audience. It’s a scene that fits in this movie and His Girl Friday, probably the highest praise I could give.
These were all great scenes but the defining scene of 2024 for the Alternate Oscars will be “Overture” from The Brutalist. Nothing sets the stage better for this massive movie than one of the most claustrophobic, intense, and awe-inspiring openings to a movie of the past 15 years. All set to Daniel Blunberg’s astonishing score, you know within a few minutes that you are witnessing greatness. And it ends with one of the most beguiling, alluring, and provocative shots you’ll see: the Statue of Liberty upside down. Monumental!
Alternate Oscars Winner: “Overture” from The Brutalist

Best Stunts
- Elizabeth vs. Sue, The Substance
- Final Beaver Battle, Hundreds of Beavers
- Post-titlecard drop fight, Kill
- Opening aerial sequence, Dune: Part Two
- Dumpster Chase, The Fall Guy
- Home sequence, Anora
- Climactic match, Challengers
- Stowaway, Furiosa: A Mad Max Saga
- Rodeo Twister, Twisters
- Chase in the nursing home, Thelma
These were all thrilling scenes to watch. Some were anxiety inducing, others hilarious. One sequence that feels special (and a way to talk about a movie that more people should see) is the scene immediately after the title card drops in Kill. I’m willing to say Kill is the best pure action movie from India, ever. The stunts and kills feel like they’re from the John Wick movies, which is the highest compliment any action flick could get. It has blood, gnarly sets, jugular veins gone in a second, bones cracking, truly everything you could want from a movie like this. In its opening 30 minutes, Kill makes you think you’re watching a predictable Bollywood action-romance. With that energy, the film’s biggest twist occurs and director Nikhil Nagesh Bhatt pulls one of the coolest movie movements from 2024 and drops the title card then. That is when the viewer knows this isn’t your typical Bollywood movie. and star Lakshya goes to another gear while killing people mercilessly left and right.
Alternate Oscars Winner: Post-titlecard drop fight, Kill
Best Breakthrough Performance
- Mark Eydelshteyn, Anora
- Adam Person, A Different Man
- Raghav Juyal, Kill
- Aaron Pierre, Rebel Ridge
- Ryland Brickson Cole Tews, Hundreds of Beavers
Eydelshteyn plays Ivan like Chase Dreams (from The Other Two) and it’s an uproariously hilarious performance. Person lights up the screen in A Different Man and turns the movie on its head. Juyal delivers one-liners and kills with passion, giving us one of the most memorable Bollywood villains in recent times. Tews commits to the bit harder than anyone has in Hundreds of Beavers and I can’t wait to see how far the bit can go in future movies.
When I think of breakthroughs, Pierre’s performance in Rebel Ridge feels like a star-making performance. He has one of the best pair of eyes in the business, but Pierre is someone who could’ve been the biggest action leading man in the ‘90s. He’s rugged, strong, and determined. He was able to hold his own against Don Johnson, which is enough proof for anyone doubting him. A star was truly born.
Alternate Oscars Winner: Aaron Pierre, Rebel Ridge
Best Breakthrough Feature
- Adam Rehmeier, Snack Shack
- Nikhil Nagesh Bhatt, Kill
- Sean Wang, DIDI
- Rich Peppiatt, Kneecap
- Rachel Morrison, The Fire Inside
All of these movies for Alternate Oscars possibilities in this category are very good. Kill sets a new benchmark in Indian cinema action. DIDI took us back to 2008 convincingly. Kneecap rocks from top to bottom. The Fire Inside gives us an update on the traditional sports biopic, but Snack Shack is the film we always ask for: an all-time hangout/vibes movie. Rehmeier is a name to watch going forward. Similar to Wang, he was able to transport us to the time the movie was in, and we didn’t want to leave. It would’ve been easy to make Snack Shack a nostalgia grab, but Rehmeier roots the film in comedy and realism. I love this movie and have season tickets to whatever Rehmeier does next.
Alternate Oscars Winner: Adam Rehmeier, Snack Shack

Best Needle Drop
- “Memories” and “Dancing Queen”, Venom: The Last Dance
- “Father Figure”, Babygirl
- “Bye Bye Bye”, Deadpool & Wolverine
- “All Too Well”, The Fall Guy
- “Greatest Day (Robin Schulz Rework)”, Anora
Venom: The Last Dance needed 5-7 more musical moments like the truly amusing “Memories” and “Dancing Queen” needle drops (Mrs. Chen forever). When George Michael’s “Father Figure” plays in Babygirl, all you want to do is stand up and applaud because it is the perfect song choice for this movie. In my eyes, Deadpool & Wolverine is what Martin Scorsese meant by saying Marvel movies are theme parks. Yet, even I was won over by the “Bye Bye Bye” opening. Who among us has not blasted Taylor Swift’s “All Too Well” like Ryan Gosling’s character in The Fall Guy?
However, it’s not even close. Take That’s “Greatest Day (Robin Schulz Rework)” playing in Anora is the best needle drop(s) of the year. The song plays during the memorable opening at the strip club and plays during the Las Vegas sequence of the movie, which is truly ethereal. It’s a terrific song and completely represents what the movie is. Whenever people think of that song, they will think of Anora.
Alternate Oscars Winner: “Greatest Day (Robin Schulz Rework)”, Anora