Best Pictures #121: 2025 (98th) Academy Awards Best Picture Nominee: Guillermo del Toro's Frankenstein (2025)

by A.J.

Best Pictures #121: 2025 (98th) Academy Awards Best Picture Nominee

Frankenstein (2025)

"What manner of creature is that? What manner of devil made him?"

I am a fan of director Guillermo del Toro, however, it always seems to be a coin flip whether I'll like his next movie or not. Mary Shelley's Frankenstein is one of my favorite books and holds the rare distinction of being a book I have read more than once. So, I was more trepidatious than excited to see del Toro's adaptation of Frankenstein. There have been so many Frankenstein movies from the silent short in 1910 to the landmark Universal monster movie in 1931 to many, many more and now to del Toro. With so many versions of Mary Shelley's story, so many variations, so many re-imaginings, do we really need one more? The answer is yes, if it is this one.

It’s no surprise that this was a passion project for del Toro, who has been obsessed with the novel and 1931 film, directed by James Whale, since childhood. His wonderfully macabre visual style, approach to certain themes, and ability to create sympathetic portrayals of monsters make Frankenstein the perfect story for him to tell. Even more than Pan's Labyrinth or The Shape of Water, this feels like the ultimate Guillermo del Toro movie. It is the movie he was meant to make. 

The plot is, dare I say, familiar. I read some reviews that claimed this adaptation was more faithful to the novel, which is a sign that someone has not read the novel. This is something that gets said whenever a movie includes the framing device of the arctic expedition that discovers Frankenstein and the Creature. del Toro's adaptation does begin with an arctic expedition trapped in the ice that comes upon a weary and ailing Victor Frankenstein who tells his woeful tale to the captain. Of course, del Toro makes sure that the Creature also gets to tell his tale. 

In this version, young Victor Frankenstein learned the basics of medicine from his cold and demanding father (played by Charles Dance, of course). At university Victor’s (Oscar Isaac) boundary pushing experiments and ideas catch the attention of the eccentric Harlander (Christoph Waltz), who agrees to bankroll Frankenstein’s experiment to create a new and improved man. Frankenstein becomes infatuated with Harlander’s niece, Elizabeth (Mia Goth), who is engaged to his younger brother, William. The movie takes its time before the Creature is introduced; fortunately none of that time is wasted and Jacob Elordi as the Creature does not disappoint. 

Like Sofia Coppola in Priscilla, del Toro uses Elordi’s 6’5” stature to overwhelming effect. The special makeup effects are quite impressive (Make Up and Hairstyling are just one of a total 9 Oscar nominations), and all the more impressive because they do not hide or distract from Elordi’s performance. He effectively conveys the longing and anger of the Creature so well articulated in Mary Shelley’s novel. Elordi has earned a Best Supporting Actor Oscar nomination, the film’s only acting nomination. Neither a trophy nor a damsel, Mia Goth as Elizabeth is the promise of comfort and safety and love for Victor, William, and the Creature. Her compassion is the first kindness that the Creature knows. Oscar Isaac is at his best when playing mad scientists (see also Ex Machina for further proof and another excellent performance not nominated by the Academy). Isaac is delightfully over the top, clearly having fun with the role, and the movie benefits from it. Frankenstein is audacious, rakishly charming, arrogant and also selfish, abusive, and cowardly. One of the first things he does with the Creature is to put it in chains in the laboratory basement. His arc from protagonist to essentially a villain is done with care and Isaac handles Victor’s complexity very well. 

Both the Production Design and Costumes received Oscar nominations, and rightfully so. The story is set in the 1850’s, though things are not quite period accurate. They are, however, accurate to del Toro’s sensibilities. An elaborate statue of an archangel comes to fiery life during a nightmare (inspired by a real waking nightmare del Toro had as a child). The former armory turned laboratory is a bizarre and impractical but visually stunning tower on the edge of a cliff. There is a large chute down the middle from the top of the tower to the basement–reminiscent of the hole in the roof of the estate in Crimson Peak, itself inspired by Poe’s The Fall of House of Usher–that I can’t imagine would serve any real purpose. The costumes, especially Mia Goth’s gowns, follow this same outlandish but eyecatching style.

There is enough of the novel in this adaptation to satisfy a fan like me. There is also enough that is new and different that a viewer, horror fan or not, won't feel like they're watching the same old story. Though one of the great pillars of horror literature and cinema, the Frankenstein story is more macabre and spooky (gothic, you might say) than scary. The best film adaptations tune into Shelley's sympathy for the Creature and that Victor is actually a mad scientist, and even a villain. Mary Shelly created a thematically complex story and that is not lost in del Toro’s version. This movie gets gory and violent at times and it is perfect for a dreary day, a stormy night, or any time you’re in a spooky mood.

Frankenstein is available to stream on Netflix.

Nominees: Guillermo del Toro, J. Miles Dale, Scott Stuber, producers

Director: Guillermo del Toro

Screenplay: Guillermo del Toro; based on Frankenstein; or, The Modern Prometheus by Mary Shelley

Cast: Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz

Production Companies: Double Dare You, Demilo Films, Bluegrass 7

Distributor: Netflix

Release Date: October 17th, 2025

Total Nominations: 9, including Best Picture

Other Nominations: Supporting Actor-Jacob Elordi; Adapted Screenplay-Guillermo del Toro; Cinematography-Dan Laustsen; Production Design-Tamara Deverell (production designer), Shane Vieau (set decorator); Costume Design-Kate Hawley; Makeup and Hairstyling-Mike Hill, Jordan Samuel, Cliona Furey; Original Score-Alexandre Desplat; Sound-Greg Chapman, Nathan Robitaille, Nelson Ferreira, Christian T. Cooke, Brad Zoern

Best Pictures #80: 2021 (94th) Academy Awards Best Picture Nominee: Dune (2021)

 by A.J. 

Best Pictures #80:

2021 (94th) Academy Awards Best Picture Nominee

Dune (2021)

 “Fear is the mind killer.”

Frank Herbert’s 1965 epic science-fiction/fantasy novel Dune has long been considered by many to be unfilmable. The fabulous documentary Jodorowsky's Dune details the attempt by cult filmmaker Alejandro Jodorowsky to adapt the novel. David Lynch’s 1984 version flopped on every front and, despite the cult following it has since built, seemed to prove the novel’s unfilmableness. Now, director Denis Villeneuve also proves that Dune is unfilmable, but in a different way. This version, co-written by Jon Spaihts, Denis Villeneuve and Eric Roth, adapts only half of the novel. However, it did succeed in creating a film that was a massive hit with critics and audiences. A sequel to adapt the rest of the novel was quickly greenlit. Dune (2021) is undeniably a great technical achievement but I was underwhelmed by the characters and story and suspect I only understood the plot and world of Dune because I had recently read the novel and had seen the David Lynch version.  

The plot, in its simplest form, is as follows: In the year 10191, the House of Atreides, led by Duke Leo Atreides (Oscar Isaac) is given charge of the desert planet of Arrakis, also called Dune, source of the spice-melange, a narcotic that makes space travel possible. The former ruling family, led by the evil Baron Harkonan (Stellan Skarsgard), springs a trap that sends the duke’s son, Paul Atreides (Timothee Chalamet) and wife, Lady Jessica (Rebecca Ferguson), a member of a mystical spiritual order, into the unlivable deserts of the planet only sparsely populated by the native Fremen people and giant sandworms. 

It’s no surprise that Dune received Oscar nominations for Sound and Visual Effects. The “thropter” aircrafts are particularly memorable and overall the visual effects blend CGI well with the practical elements of just about any scene. However, the Costume and Production Design nominations are more perplexing. The color palette is nearly monochromatic; everything is a shade of brown or beige or yellow. Many of the costumes are black, which doesn’t seem like a good color for the desert, and the interiors are large chambers that might be more impressive if they weren’t so empty.

Before arriving on Arrakis, Paul began having visions and may be the chosen one of ancient prophecies. Timothee Chalamet does a good job as the gifted but inexperienced Paul. Stellan Skarsgard, channeling Marlon Brando as Colonel Kurtz from Apocalypse Now–he even emerges from shadows with water dripping over his bald head–is plenty villainous as Baron Harkonen. Rebecca Ferguson and Oscar Isaac also give good performances, yet I wasn't especially attached to any of the characters. Though the screenplay takes its time with only half of the novel, the film still feels like it is trying to cram in and explain a lot, leaving little time for characters to breathe or intrigue to grow. 

There is enough of a quasi-conclusion that you feel satisfied when the credits roll, though it is clear that the story is not over. I suppose I will watch the sequel/continuation when it is made, but I’m in no rush. However, I don’t think I’ll rewatch this version of Dune before I do; Denis Villanueve’s Dune isn’t a place I would like to revisit. This is a serious, humorless film that not only takes itself very seriously but demands you take it very seriously as well. That is hard to do when so much about the world Frank Herbert created is kind of weird and even silly (in this version we do not see the rhythmless walk Paul and Lady Jessica must do to not attract the worm). David Lynch’s adaptation, for all its flaws, embraced that weirdness and never tried to be “cool.” It took itself seriously but never asked that of the audience, which allows it to be fun. David Lynch’s Dune is a place I have been to many times.  

Nominees: Mary Parent, Denis Villeneuve, Cale Boyter, producers

Director: Denis Villeneuve

Screenplay: Jon Spaihts, Denis Villeneuve, Eric Roth

Cast: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård

Release Date: October 22nd, 2021

Production Companies: Legendary Pictures

Distributor: Warner Bros. Pictures

Total Nominations: 10, including Best Picture

Wins: 6) Cinematography-Greig Fraser; Editing-Joe Walker; Original Score-Hans Zimmer; Production Design-Patrice Vermette (production design), Zsuzsanna Sipos (set decoration); Visual Effects-Paul Lambert, Tristan Myles, Brian Connor, Gerd Nefzer; Sound-Mac Ruth, Mark A. Mangini, Theo Green, Doug Hemphill, Ron Bartlett

Other Nominations: Adapted Screenplay-Jon Spaihts, Denis Villeneuve, Eric Roth; Costume Design-Jacqueline West, Bob Morgan; Makeup and Hairstyling-Donald Mowat, Love Larson, Eva Von Bahr

My Favorite Performances of 2015

by Lani

Each year before the Oscars I write up my list of favorite performances, which more often than not, are not the ones being recognized by the Academy. This year, I realized that many of my favorite performances were not in movies, but on television -- including Kirsten Dunst and Patrick Wilson on Fargo, Oscar Isaac in Show Me a Hero, and Mark Rylance in Wolf Hall. My favorite piece of entertainment all year was the Broadway production of Hamilton (I'm hoping to hear the phrase "Tony Award-winner Leslie Odom, Jr." this June). But my heart still lies with Hollywood, so here are some of the movie performances that I loved in 2015.

Girl Power!
Some of the best roles for actresses this year were women of action. They displayed physical strength and mental sharpness, often stealing the screen from the male action stars. Leading the charge were Charlize Theron as Imperator Furiosa and her squad of females from Mad Max: Fury Road. When the film begins, Furiosa is already in a position of power, trusted by the ruling tyrant to lead a unit of "War Boys" (in Latin, imperator is equivalent to commander). However, she truly shows her mettle when she defies her ruler, liberates his captive "wives," and sets off on a breakneck chase through the desert. Though my perennial favorite Tom Hardy plays the title character, Theron is the star of this feminist action flick.
Other members of my imaginary girl gang would include Melissa McCarthy as the CIA analyst-turned-field agent who, capably and hilariously, defied all expectations in Spy; as well as McCarthy's comedic foil Rose Byrne, who managed to find a level just shy of over-the-top as Spy's catty, tacky villainess. I was also pleasantly surprised by Rebecca Ferguson in Mission: Impossible-Rogue Nation. In a role that was more than just a sexy sidekick, Ferguson, who was a new face to me, effortlessly held her own opposite the indomitable charisma of Tom Cruise. Sure, she could rock some stiletto heels, but she was sensible enough to remove them when the action ramped up.
But Girl Power isn't only about kicking ass and taking names, several other women impressed me with performances that conveyed immense strength of character and will (but unlike my action heroines, these actresses all got Oscar nominations): Saoirse Ronan as a quietly determined immigrant in Brooklyn, Brie Larson as a resilient young mother in Room, and Rooney Mara and Cate Blanchett as women who refuse to deny their true selves in Carol.

Favorite Chameleon: Oscar Isaac in everything
In addition to his Golden Globe-winning performance in the HBO miniseries Show Me a Hero playing an ambitious, but beleaguered Yonkers politician, Oscar Isaac had several major film roles this year, each one a wildly different character. I started the year with Isaac in A Most Violent Year (technically a 2014 movie, but it didn't play in most theaters until January 2015) playing an immigrant and successful business owner who defiantly confronts his rivals and the New York D.A.'s office; then in December, I ended the year with Isaac as the coolest fighter pilot in any galaxy, Poe Dameron, in Star Wars: Episode VII-The Force Awakens. In between, he earned my vote (but sadly not the Academy's) for Best Supporting Actor as an eccentric tech billionaire who designs lifelike A.I. in Ex Machina. Was my vote swayed by his sweet dance moves? Well, they certainly didn't hurt.

Favorite Mystical Drug Dealer: Michael Shannon in The Night Before
Michael Shannon received a lot of critical praise, and a Screen Actor's Guild nomination, for his supporting performance in 99 Homes. However, I'll always have a fondness for his performance as Mr. Green, the oddly sagacious drug dealer to the three stars of the Christmas Eve comedy The Night Before. The film cleverly nods to many well-known holiday stories, like Home Alone and Die Hard; and Shannon's encounters with three friends (Joseph Gordon-Levitt, Seth Rogen, and Anthony Mackie) during an evening of misadventure is reminiscent of the visits from the ghosts in A Christmas Carol and guardian angel Clarence from It's a Wonderful Life. This is a silly movie, and Shannon is clearly up for it. He brings a blend of dry humor and quiet menace to every scene. It's a small part and it wouldn't work if Shannon weren't so good.

Favorite Couple: Michael B. Jordan and Tessa Thompson in Creed
The Class of 2015 had many memorable romances, from Eilis + Tony in Brooklyn to Melinda + Brian in Love and Mercy to Therese + Carol in Carol. However, my pick for cutest couple goes to Donnie and Bianca in Creed. Who'd have expected that the year's most effecting love story would be nestled inside the year's best boxing movie? But I suppose it's not that surprising since writer-director Ryan Coogler is a big fan of the Rocky series, which contains one of the great screen couples: Rocky and Adrian. (Not to mention Rocky and Apollo Creed.) In continuing the Rocky story, Coogler continued the tradition of underdog tales with big hearts. Jordan and Thompson are both immensely appealing performers whose scenes together capture the excitement and trepidation of new love. Donnie may be a headstrong jock, but he's also disarmingly sweet and sincere. Bianca isn't just a pretty girl watching Donnie from outside the ring; she's interesting and talented in her own right. He needs her more than she needs him; and when the climactic boxing match comes around, it's clear that Bianca is an equally important member of Donnie's inner circle as "Uncle" Rocky. (Oh, Creed, why did you only get one Oscar nomination?)

Favorite Cast in Sensible Slacks: Cast of Spotlight
The cast of Spotlight is a true ensemble with each member playing off the others flawlessly. The actors (including Michael Keaton, Live Schrieber, and Oscar-nominee Rachel McAdams) are playing real people and they feel like real people, which can't always be said of films based on true stories. Part of the realism does come from the mundane settings (offices, coffee shops, living rooms) and the gloriously accurate wardrobe (button-downs shirts, "business" slacks, and sensible shoes). An aside: I'm so used to seeing "career women" costumed and coiffed as either overly glamorous -- as if she actually has a movie star's clothing budget, style team, and 3-4 hours to get ready -- or dowdy to the point of becoming a non-sexual entity; so, seeing McAdams' exceedingly reasonable hairstyle and functional office wardrobe gave me great pleasure. Nevertheless, I give most of the credit for the film's true-to-life feeling to the measured, grounded performances of the cast. It's an important story and it's never overshadowed by a "star-turn" performance.

Best Cackling Monologue that May or May Not be True, but Ultimately is Not Important to the Movie: Samuel L. Jackson in The Hateful Eight
If you saw the film, you know which one I mean. If you didn't see the film, well, you can probably imagine what it sounded like. I didn't love this film, but I have to give respect to Jackson's facility as a storyteller. He once again shows that he is an ideal interpreter of writer-director Quentin Tarantino's idiosyncratic material.

Favorite Leading Lady: Elizabeth Banks in Love and Mercy
Love and Mercy is a unique biopic about musician Brian Wilson which moves back and forth between two crucial periods in his life -- the 1960s, around the time that Wilson masterminded the Beach Boys' seminal album Pet Sounds, and the 1980s, when his life was controlled by an exploitative therapist. It was in the '80s period that Wilson met Melinda Ledbetter, a pretty Cadillac dealer who turned out to be Wilson's salvation and eventually his wife. (They are happily married to this day.) Elizabeth Banks brings warmth, humor, maturity, and intelligence to her portrayal of Melinda. Though Melinda is a real person, her story could easily feel like melodrama because it is an improbable romance. Wilson (portrayed in this section of the film by John Cusack) is a man in the depths of mental illness, under the thumb of a shady egomaniac, who has driven away everyone who really loved him. Any woman presented with this man as a romantic prospect would be forgiven for running in the other direction, but Melinda didn't run; she chose to meet every challenge with love. The strength of Banks' performance is that she makes Melinda's choices seem plausible. Banks had a great year with a role in the final Hunger Games film, a stand-out performance in Wet Hot American Summer: First Day of Camp on Netflix, and her directorial debut with Pitch Perfect 2. However, I would place her performance in Love and Mercy as a career high-point which stands up to any of the award-winning performances from this year.