If You Love This Year’s Oscar Winners, Watch These Four Similar Nominees Next

There's only one rule as far as the kinds of performance that get nominated for Oscars go: Someone has already been nominated for a role just like it.

While it was thrilling to watch Julianne Moore, Eddie Redmayne, Patricia Arquette, and JK Simmons pick up expected Oscars for their work this year, it cannot be denied that many of their roles have obvious Oscar forebears. Here are four performances you should watch next if you loved “Still Alice,” “The Theory of Everything,” “Boyhood,” and “Whiplash.” 

If you liked Julianne Moore in “Still Alice,” watch Bette Davis in “Dark Victory”

Julianne Moore copes with the inevitability of a devastating condition in “Still Alice,” and her decline is both grim and undeniably cinematic. Her emotional and physical transformations serve as the movie's entire plot, and her family's shifting response to her progressing Alzheimer's is just as compelling. In Oscar history, we actually haven't seen too many winning female performances about terminal illness, but one of the first examples that comes to mind is Bette Davis's nominated work in “Dark Victory.” In her third Oscar-nominated role, Davis plays a socialite who learns she has a brain tumor that will cause her to go blind and die within a year. While it's a certainly an example of Old Hollywood acting (and all the grandeur that goes with it), it is a bracing performance over 75 years later. Like in Moore's performance, Davis attracts us to her decline by conveying integrity and a rising sense of urgency.

If you liked JK Simmons in “Whiplash,” watch Louis Gossett Jr. in “An Officer and a Gentleman”

Sometimes the Academy likes giving Oscars to hard-asses who don't back down. Usually this means wins for psychotic roles like Javier Bardem in “No Country for Old Men” or Heath Ledger in “The Dark Knight,” but occasionally it's just a gruff guy with a commanding, cruel tone. See: Louis Gossett Jr. smacking down recruits in “An Officer and a Gentleman.” It's exactly the unbearably tough pseudo-love that JK Simmons achieved in “Whiplash.”