Okay. So far, out of all of the rankings, the five nominees for the Best Visual Effects category has been the hardest to rank (for our new readers, get used to the idea that ranking nominees can be difficult. It happens a lot). In fact, we wouldn’t really replace any of the candidates with any other film (although we will still offer up a “snub”). The following nominees either create entire worlds using computer graphic imaging, or they help fine tune images shot in the real world. You’re comparing beings from another dimension with turning a seventy year old into a forty year old. It’s going to be a bit dicey. However, we think we have an order, but don’t put too much thought into this list’s ranking. It could really go any way for the most part.

Here are your nominees for Best Visual Effects, ranked from worst to best.

Biggest Snub: Cats

How was Cats shut out of every single category? We know the film is bad, but it isn’t that bad is it? Actually, we’re just kidding. The film looks like hairy vomit. We just wanted to use this opportunity to bring up how Cats’ Oscar-baiting didn’t work one iota, and it was even pulled out of the Oscars race. Good. Next.

The Actual Biggest Snub: Midsommar

Now, we don’t think Midsommar was actually snubbed, but we could explain why it’s actually underrated in this category. Sure, there isn’t much in Midsommar when it comes to generated effects, but the creative hallucinations are so subtle at first. The gradual shift into a world of visual madness is slow enough to make you feel delirious. Sure, the effects aren’t super loud or obvious at first, but it’s great to see CGI used in such a sublime way. This is a shout out to a film that was completely overlooked by the Academy, for an element that isn’t discussed nearly enough in relation to Midsommar.

5. 1917: Guillaume Rocheron, Greg Butler, Dominic Tuohy

You know a category is tight when a film as well made as 1917 is put last. The film has many strengths, and its effects are definitely notable. However, how many scenes actually display CGI effects, as opposed to practical? That could be a trick question and we don’t even know it; suppose many of the scenes we took for granted were actually computer generated. Ah well. A film has to come last if we’re ranking, so 1917 is here, only because of the amount of effects the other nominees contain. The CGI scenes in 1917 are still brilliantly well done, especially particular scenes of action (you can pin point which ones are practical, and which are generated).

Our review of 1917

4. The Irishman: Pablo Helman, Leandro Estebecorena, Nelson Sepulveda-Fauser, Stephane Grabli

So all of The Irishman features groundbreaking digital re-aging, and it works for the most part. Some scenes feature eyeballs that look a little too glazed over. Other moments, the CGI cannot mask the age of an actor by limiting their actions (a seventy year old kicks differently than a forty year old). Otherwise, outside of some scenes that stick out, the illusion is quite startlingly effective. In a nearly-four hour film, you may forget how the actors look in real life. The CGI age-adjusting isn’t perfected, but it’s pretty convincing here.

Our review of The Irishman

3. Star Wars: The Rise of Skywalker: Roger Guyett, Neal Scanlan, Patrick Tubach, Dominic Tuohy

Once again, this is Star Wars. Even if the story isn’t too hot, the technical work will always be fantastic. If The Rise of Skywalker did anything well, it was fan service. That includes some epic battle sequences, and the need for tons of CGI. This ninth instalment upholds the Lucas standard of effects based excellence, with every single monotonous scene at least being a thrilling generated landscape of lasers, explosions, and armies fighting on land or in space.

Our review of Star Wars: The Rise of Skywalker

2. Avengers: Endgame: Dan DeLeeuw, Russell Earl, Matt Aitken, Dan Sudick

Many people wanted Endgame to get a Best Picture nod, and all it earned was a single nomination for Best Visual Effects. That’s no laughing matter at least. Combining all of the visual elements of every Marvel film thus far is not easy. Then you have the smushing of all of these styles and super powers within a single sequence. That’s absolutely impressive. You have the entire three hour film, of course, where most of what you see is CGI, but we feel like everyone expects Marvel to hold up that way. The final climax being this well made? There’s enough work done so you know exactly what is going on despite how much is actually going on. It’s rather astounding.

Our review of Avengers: Endgame

1. The Lion King: Robert Legato, Adam Valdez, Andrew R. Jones, Elliot Newman

Well, The Lion King had to be good at something, right? Despite the singing taxidermy not working out too well, The Lion King is absolutely confusing to look at. The CGI is close to perfect: it’s just the awkward singing and the clinging-to-the-animated-original framing that kills the visuals. Otherwise, just look at any still image. We’re observing visual effects, after all, not the entire package. These animals are absolutely life like. The settings feel tangible. As garbage as the film is, it is a visual wonderland that kind of feels unmatched by most films. It’s a technical achievement. The Jungle Book was already good, and I feel like The Lion King takes an even bigger step in the right direction. If you put this film on mute, it’s like watching a National Geographic episode with the occasional silly face. It’s just too bad the film is atrocious.

Our review of The Lion King

Who we want to win: Honestly? Anyone. We don’t care. These are all great nominees.

Who we think will win? If 1917 sweeps up most of its nominees, then it will do well here. The Irishman also has a great shot, since the Academy wants to spread its Best Picture nominees’ respective other wins across the board (there aren’t many categories we foresee The Irishman claiming). This could go to The Lion King as well. After all, The Jungle Book won its year. A film as bad as The Lion King made it this far. Maybe its effects are just that good? Who knows.

Tune in tomorrow for our next Academy Award category! We’re reviewing every single nominee.

Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.

Best Visual Effects: Ranking Every Oscar Nominee