At first I intended for my Best Picture blogs to be three in total. When it became clear how much writing I did for the first two films, I decided dividing them into blogs of two reviews each is more worth it.  So in the meantime, here’s the third of my five Best Picture review blogs:

The reboot of the Dune series has been so far the biggest movie action of the 2020’s. The re-adaptation of the Frank Herbert novel was a highly anticipated event in 2021 and hoped to get people back into the movie theatres after the relaxing of the strictest COVID precautions in history. It worked. Dune made over $400 million at the box office, was nominated for ten Academy Awards and won six. It was like what David Lynch got wrong, Denis Villeneuve got right. Originally, Villeneuve planned to divide the story into two films. This is what led to Dune: Part Two to be made.

The second Dune film continues with the drama left behind from the first. The second makes the stories of the dehumanizing Water Of Life, the installation of the young sadistic nephew of Arrakis as the ruler and heir to House Harkonnen, Paul’s romance interest to soldier Chani, the threat of holy war from Fremen fundamentalists, a spice trade at risk of smugglers, Paul’s consumption of the Water Of Life much to the disappointment of Chani, his dealing with his mother, his duel to battle the throne of the Harkonnen kingdom, his ascendancy to the role of king upon winning and the rejection of all as leader, including Chani. The drama continues, the excitement and thrills increase and the ending leaves the audience in suspense and the anticipation of what will follow in the sequel Dune: Messiah, set for release in the spring or summer of 2026.

Every year, there seems to be at least one ‘popcorn movie’ that seems to rack up enough buzz to eventually become a Best Picture nominee. Not only did Dune: Part Two get nominated for Best Picture, but the Dune franchise joins the Godfather, Lord Of The Rings, Going My Way and the Avatar franchise as the only five movie franchises to have two or more of its films nominated for Best Picture. It’s deserving of it because it succeeds in doing what a science fiction film should do. It takes people into another world. It creates an intense complex drama of the threat of the order of humanity and how it rests in the hands of one young man. It delivers in the action people go to expect form a film like Dune. On top of it, it succeeds in being the opposite of your typical movie sequel that ends up being a repeat of the first. Instead, we get a continuation of the chronologic drama and ends with the anticipation of the third and final part. Deserving of its Best Picture nomionation. And to think it was released back in March 2024. Talk about endurance!

Once again, top respect goes to Denis Villeneuve. You can trust Villeneuve to deliver in a sci-fi film. Both in his direction and his co-adaptation of the story with Jon Spaihts, he continues the excitement of the story well by keeping in the right parts, delivering on the action needed and making the smart decision to make his adaptation of Dune a three-film series instead of the two-film series he originally hoped for. He did things right and in winning fashion. Like most sci-fi films, the story is more focused on the special effects and action moments, but the film doesn’t stray away from its focus on the story and the characters. It is still there and still consistent. Even though Timothy Chalamet’s performance as Paul wasn’t too deep of a role, it is still consistent to the story and very believable. Zendaya’s performance as Chani added to the story. In the first Dune movie, Chani was a minor supporting role. Here, she’s the lead female protagonist and Zendaya does an excellent job in making her a key part of this chapter. There were also good performances of minor roles like Josh Brolin as Paul’s trainee and mentor, Rebecca Ferguson as Paul’s mother with whom Paul harbors resentment, Austin Butler as Paul’s fierce deadly rival to the throne and Christopher Walken as the emperor.

As is common with great science fiction films, the standout achievements are in the technical areas. You need it for a sci-fi film to excel and Dune: Part Two had some of the best of the year. Its top achievements are in the cinematography by Greig Fraser, the production design by Patrice Vermette and Shane Viau, the costuming by Jacqueline West, the editing by Joe Walker, the special effects by the film’s effects team, and the music from Hans Zimmer. All of it was successful in taking the audience into Dune’s futuristic world and enhancing the film’s action.

Dune: Part Two succeeds in keeping alive the drama, intensity and excitement of the first film and sets the audience up for anticipation of the third and final chapter. It succeeds in having the best qualities of a sci-fi film without the common watering down or cheapening of the quality.

Now this film has been the subject of a lot of discussion, for better or for worse. In watching it, one would be shocked how a musical is made out of subject matter that would be the last themes and elements thought of as subject matter for a musical. Nevertheless, the mix of a musical with modern-day dark drama works as a film from start to finish. Despite that, this film is not for everybody. If you’re a person who welcomes experimentation in film like I do, then you will like it or respect it as a film. If you want to be entertained, that’s taking chances as a lot of people will be unhappy with a film like this. Trust me. A transsexual druglord and all the corruption in Mexico and the missing people that come with it does not make for an entertaining film. Making a musical out of it would seem quite the oddity.

From the start, it looked like the type of film that would get a lot of Oscar buzz. It had great acting, an eyebrow-raising story and quite the unconventional way of making a film. The film would achieve thirteen Oscar nominations and then the hate began. First, there are the complaints from the transsexual communities complaining of the transsexual character being a murderous drug lord before the operation. Then came complaints from the people of Mexico of how Mexico was depicted as a place of rabid crime. Additionally, it came to light past social media messages from Karla Sofia Gascon. Exposed in her messages were tweets that were Islamophobic, racist and even critical of her own co-stars. This only came to light just after all the nominations were revealed. I know there’s always at least one Best Picture contender that starts a load of controversy. Best Picture nominees often start some controversy or debate but there’s always one that stands out the most. This will have to be the biggest of the ten.

I’m not normally one to trash a film unless it’s really horrendous or really terrible either in quality or in its subject matter. While the film is definitely one of uncomfortable subject matter, I do give it credit for its experimentation. We should know that this film is originally a stage opera created by Jacques Audiard who adapted it from a chapter in a French book Ecoute. I will give Audiard credit for trying to make a musical out of out-of-the-ordinary subject matter. Watching it will make you question if the musical elements of the film work or not but there are many parts that stand out as great and will even blow you away. Don’t forget this isn’t a story about a transition from man to woman. It’s also a transition of personality going from leader of a drug cartel to a humanitarian. Also I feel the acting in the story works well. It’s the acting from the three main stars of the film that help make the film work on the screen and work as an unexpected musical. The funny thing is after you’ve finished watching, you will ask yourself if you liked it or not. Or if this worked or not. Despite its imperfections, I consider it a brave attempt.

Responsible for this film is French director Jacques Audiard. Audiard has had a decades-long reputation as a filmmaker in France and has directed many films outside the French language. This film, which was a Palme d’Or nominee at Cannes 2024, should be seen as an accomplishment in retrospect. A flawed accomplishment, a provocative accomplishment but an accomplishment nevertheless. It’s not just this being an unlikely musical but also adapting a stage opera to the big screen. As if adapting a musical isn’t hard enough. Despite its flaws, I give Audiard credit for that.

Also excellent is the performance of lead Karla Sofia Gascon. A transsexual woman herself, Gascon does a great job in both the male role of Manitas and the female role of Emilia Perez. It’s two different conflicting personalities of the same character and it needed to be done well, and Gascon succeeds in doing it. Also excellent is Zoe Saldana as the lawyer caught in the middle of it all. When watching the film, you wonder if the lead is Emilia or if the lead is Rita Castro. Zoe does a great job in making the film as much hers as it is Emilia’s. Selena Gomez’ performance was not all there. Nevertheless she did have some great moments and was believable in most scenes. Adriana Paz is also great in playing Emilia’s lover. I give top technical acclaim to Paul Guilhaume in the cinematography, the hair and makeup team for the convincing work on the pre-transition Manitas, and the collaboration of Clement Ducol and Camille on the standout music.

Emilia Perez is not everyone’s cup of tea. It gives a lot of reasons for you to hate it and a lot of reasons for you to like it. I consider it a film for myself to like and admire, despite its obvious flaws.

And there you go. This is my look at two more contenders for the Best Picture Oscar. With ten films, boy do you get a lot of different films.