The Academy of Motion Pictures Arts and Sciences announced the nominations for the 97th Academy Awards on Thursday. Despite the fact that the Oscars seem to be diminishing in cultural significance at an ever-increasing pace, and this year there have even been calls to cancel the awards in light of the devastating wildfires ravaging southern California, getting a nomination is still big news. It can make a career, especially for small movies and lesser-known artists.
Fifteen original songs were shortlisted for the five final spots, but one of them – “Forbidden Road” by Robbie Williams from the film Better Man – was subsequently disqualified due to its use of non-original music in excess of the Academy’s standards.
It’s usually fairly easy to predict a couple of the nominees in advance, and it is virtually impossible to get all five. There are always surprises and snubs. This year, there seemed to be some momentum building for the Trent Reznor/Atticus Ross song “Compress/Repress” from Challengers and for Maren Morris’ “Kiss the Sky” from The Wild Robot. Both scored Golden Globe nominations, but neither was chosen for an Oscar nom.
How good are the Best Song nominees for the 2025 Academy Awards?
Lainey Wilson’s Twisters song “Out of Oklahoma" didn’t make it, nor did Kristen Wigg’s spry Americana “Harper & Will Go West,” or any of the animated movie songs that usually get some attention.
My personal favorite – “Sick in the Head” from Kneecap – also had to settle for the shortlist. But here are the five that will be competing for the 13.5-inch statuette.
“El Mal” from Emilia Perez
This is going to win. (OK, there could always be an upset, but I doubt it this year.) This should win. Actually, I don’t think it’s even close. Camille and Clement Ducol have already claimed the Golden Globe for the major set piece from Oscar favorite Emilia Perez performed by Camille, Zoe Saldana, and the film’s star Karla Sofia Gascon.
“Mi Camino” from Emilia Perez
A second song from Emilia Perez, this one is a dramatic dream pop number performed by Selena Gomez. It’s pleasant enough, filled as it is with echoey vocals and a sing-songy melody. But it has little of the energy of its soundtrack-mate “El Mal.”
“Like a Bird” from Sing Sing
“Like a Bird” is a nice acoustic ballad from the powerful prison drama Sing Sing, but I will admit a bias right up front. This is an end credits song and though a song in that position can carry enormous weight, I’m often walking out of the theater at that point. Or out of the living room. I'm just tuned out and leaving. This is a very nice song from singer Abraham Alexander and Black Pumas guitarist Adrian Quesada, but I don’t see it as a serious contender.
“The Journey” from The Six Triple Eight
H.E.R. sings a big piano ballad written by Diane Warren. That is catnip at the Oscar-nominating stage. Won’t win. Warren has never won for Best Song despite 15 previous nominations. She did win an honorary award a couple of years ago. “The Journey” has all the hallmarks of her work. A quality, heartfelt melody. Very redundant. And did I mention it appears during the end credits?
“Never Too Late,” from Elton John: Never Too Late
From the documentary about Elton’s final massive tour. Brandi Carlile wrote it with help from Elton, Bernie Taupin, and Andrew Watt. This song goes from zero to sixty from the needle drop and mashes together plenty of musical impulses in the service of a good melody and a lyric perfectly suited to the story of the film. As such, it might be my choice for the award, though I still kind of prefer “El Mal.” I think if anything keeps the Emilia Perez song from winning, it will be Elton.
Anyway, assuming disaster foreseen or unforeseen doesn’t interrupt the schedule, we’ll all find out who wins on March 2.