Ella Taylor

As is often the case, this year's crop of Academy Award-nominated live action shorts — several of them made as newbie filmmakers' calling cards — make up in earnest humanity for what they lack in technical sophistication. One way or another, all of this year's nominees turn on themes of terror — that's if you count the lone comedy, which speaks to the fear, fantasy, or wishful thought that psychiatrists may be crazier than their patients. Here they are, ranked from best ... to best-intentioned.

My Nephew Emmett

Based on a YA novel by Heidi McLaughlin, the endearingly old-fangled Forever My Girl is basically a stretched-out country music song with eye-catching Southern visuals and a familiar loop of lovelorn sorrow topped with uplift you can see coming from scene one.

In case you're wondering whether the last-minute dropping of Kevin Spacey ruined Ridley Scott's movie about the 1973 kidnapping of billionaire J. Paul Getty's grandson, I can testify that there's barely a technical seam showing in All the Money in the World. Scott is a master craftsman who re-shot Spacey's scenes in nine days without turning a hair.

"Can we please stop with the remakes of Murder on the Orient Express?" I ask upon exiting Kenneth Branagh's fatally tepid new reading of the Agatha Christie classic.

Home Again, a shambles of a first feature written and directed by Hallie Meyers-Shyer, purports to tell the story of a woman reinventing her life in Los Angeles as she confronts middle age. On more levels than one, though, the film is about the enduring potency of Hollywood connections.