It’s that time of year again: the glitz, the glamor, the gowns. Who will go home with a coveted statue, and who will go home empty-handed? This year’s Oscar-nominated films were particularly heartfelt and inspiring (or about as close as Hollywood can manage), and TAC’s culture critic Noah Millman has seen most of them. He can tell you which ones are worth watching—or rewatching:

 American Hustle
Loosely based on the Abscam scandal, David O. Russell takes a crack at screwball dramedy, with mixed results. Millman writes: “Russell wants it both ways – he wants you to enjoy the Scorcesean roller-coaster even as at every turn he’s showing you that his real pleasure tilt-a-whirl. And it turns out you can’t quite have it both ways.”

12 Years a Slave
The film’s undiluted portrait of slavery that had audiences sobbing in the theater is nominated for Best Picture—and the two leads, Chiwetel Ejiofor and Michael Fassbender, are nominated for Best Actor and Best Supporting Actor, respectively. Lupita Nyongo is also nominated for Best Supporting Actress. Millman criticized director Steve McQueen for failing to end the film on a positive note: “McQueen doesn’t give us that uplifting twist… McQueen could have shown us a determined Northrup engaged in t[he] pursuit [of his captors], vowing never to rest, and ended his movie on an ‘up’ note. He chose not to.”

Her
The genre-bending romantic drama of a man who falls in love with his operating system is a thought-provoking tale of humans’ dependency on their machines. Millman describes the film as  “…a particularly clever Pygmalion story, one that is more attuned to what a modern man might actually want in a fantasy companion, as opposed to a mere sexual fantasy.”

Nebraska
Millman compares Alexander Payne’s newest film to his 2002 work “About Schmidt”, a rambling, dour film about an unhappy old man: “Payne’s new movie, ‘Nebraska,’ has a lot in common with ‘About Schmidt.’ Both are set primarily in Nebraska; both deal with elderly men who feel they have missed life somehow (and associate that missing out with having married June Squibb), and who go on a quixotic road trip in a roundabout way of trying to resolve their existential dilemmas.”

Gravity
Critics have raved about the gorgeous cinematography and complained about the nail-biting twists and turns this film makes. Millman offers praise for the visual component of the film.Enormous effort has been put into getting the physics right, and that effort pays off magnificently. The film is stunningly beautiful – more than that, it is sublime (to use the Burkean distinction).”

 Captain Phillips
Based on a true story of a commercial ship hijacked by Somali pirates, Millman praises director Paul Greengrass’s ability to depart from the classic thriller structure to weave a more complex narrative: “The structure he’s chosen, which takes real risks in terms of pacing, allows him to draw that straight line between Captain Phillips’s resourcefulness and the might of the U.S. Navy, while also showing what, and who, lies on the other side of that line.”

Philomena and The Wolf of Wall Street
Rod Dreher doesn’t comprehensively review these two films, but sheds very important light on the religious and moral undertones of both films, bringing their messages into stark relief. Noah Millman in his Oscar post calls Philomena  ”a sweet little film, well-written and well-structured.” He gives faint praise to “The Wolf of Wall Street” but claims too much time is given to the protagonist, who, in Millman’s estimation, ”just isn’t a very interesting person.”

The Dallas Buyers Club
While TAC did not review this film, the New Yorker’s review is more than apt, and appropriately highlights Matthew McConaughey’s transformation from romantic comedy beach bum to a serious dramatic actor.