The Oscars have a long, rich history of being allergic to horror, but not today. Horror was the big winner at the 98th Academy Awards on Sunday, with actual wins from multiple horror films across both acting and technical categories.
While Horror and its sister genre Sci-Fi/Fantasy are often rewarded in categories like visual effects, costume, and make-up, they are typically ignored in the ‘big’ acting categories. Longtime horror fans are accustomed to crying about genre riggory and the robbed performances that deserved recognition on the Oscars main stage, including Toni Collete in Hereditary, Florence Pugh in Midsommar, Mia Goth in Pearl, Christian Bale in American Psycho, the list goes on.
Yet here we are in 2026 with not just multiple nominations for Sinners, Frankenstein, and Weapons in the acting categories, but actual wins as well. We all fell in love with Amy Madigan’s iconic turn as the equally colorful and dangerous Aunt Gladys in Weapons, and Oscar voters agreed. Michael B. Jordan rightfully won Best Actor for a magnetic dual performance as twins in Ryan Coogler’s visionary vampire film, Sinners. Truthfully, it still feels a little surreal, but only because as horror fans we’re so used to disappointment when it comes to seeing the movies we love celebrated on “movie’s biggest night.”
Here are my 30-second takes on this year’s horror wins.
Sinners – So much of this movie speaks directly to my soul. As with all horror movies, there’s the horror element and the deeper meanings/symbolism assigned to it. Ryan Coogler’s ability to navigate the depths of a common horror trope like vampirism through music, racism, cultural appropriation, individual identity, and the power of community was really something special. That dance scene on its own should be taught in film school. Sinners is the definition of a well-rounded film, but it truly came together from great performances across the board, which were anchored by Michael B. Jordan’s enigmatic turn as Smoke and Stack.
Sinners also captured my heart with a strong, immersive visual style that didn’t hold back on graphic violence, and a solid narrative with multiple layers of symbolism that never felt unapproachable. That’s a lot of heavy lifting and another reason why the film also won for Best Original Screenplay as well as Editing. We also need a completely separate standing ovation for Autumn Durald Arkapaw’s Best Cinematography win for her phenomenal work on this film – the first woman to win this category in the award’s 89-year history and she won for horror! I would have been delighted if Coogler won for Best Director or if Sinners picked up a Best Picture nod as well, but I suppose we can’t have everything.
Weapons – The first word I think of with Zach Cregger’s Weapons is fun. It’s a fun, silly, crazy comedy-horror romp that successfully utilizes non-linear storytelling to both reveal truth and build tension. Weapons is underscored by some great performances from Julia Garner and Cary Christopher, a few truly scary moments (Justine sleeping in the car scene), and just enough WTFness to keep things interesting. While I enjoyed a lot about the film, Aunt Gladys is the major takeaway and I 100% agree that Madigan deserved her flowers for a truly iconic performance that will stay in people’s nightmares for years to come.
Frankenstein – I really liked this film, but with some major caveats. It’s beautiful, full stop. The intricately detailed set design, the insanely gorgeous costumes, the lushly saturated colors – as usual, Guillermo del Toro understands how to create a visual feast that feels sumptuous and dangerous and larger than life yet grounded in a reality we can still connect with emotionally. That said, I did not like this film as a Frankenstein movie specifically. I felt that the script removed all real agency and motivation from the Creature role by deviating so far from the book source. The parental abandonment, loneliness, rage, and murder revenge storylines are vital aspects of what makes the Creature complex and ultimately the most human character in the story.
This version of the tale eschews all of that and left me feeling disconnected from the indestructible sad alien baby that Jacob Elordi gave us. He needed more to do than just be a perfect victim who never does anything wrong. He doesn’t even Kill Elizabeth, which feels like a huge mistake. He needed to make bad choices and feel the pain of those mistakes, not just the loneliness of being hated for looking weird. It’s just too surface level from a story that is literally about going beneath the surface to discover what defines our humanity. As the result, the Creature character felt a bit one note – one tall, sad mopey note. I also have to sigh a little at the heavy handed ending with Victor apologizing for being a terrible father. Yes, on the one hand it feels like the ultimate fanfiction wish fulfillment (we all want Victor to recognize and apologize for being the literal worst), but I think the film would have been stronger by pushing back on those unearned, feel-good elements.
Suffice to say, I’m thrilled Frankenstein won for costumes, make-up and set design as that is where the movie truly excelled, and agree with the Academy that it wasn’t strong enough to take home Best Picture or any acting awards. Overall, still a very beautiful and watchable film, I just wish it didn’t carry the Frankenstein name.
Allison Goldstein 