Like the Supreme Court and the College of Cardinals, the Academy of Motion Picture Arts and Sciences is an exclusive and obscure deliberative body that is prone to its own brand of weirdness. The Academy loves to reward actors who play endearing lunatics and actresses who hag it up for a part. It throws trophies at lavish historical epics and anything about the Holocaust. And for a long time, it had a strange aversion to Martin Scorsese. Though some times the most deserving film took home the top prize -- "Casablanca" won in 1943, "The Godfather" in 1972, and "The Last Emperor" in 1987 -- more often than not the Academy drops the ball. Here are just a few of the Oscar's worst Best Pictures.
Cimarron (1931)
Here is a flick that really hasn't stood the test of time. "Cimarron," a big-budget tale about how the West was won, racked up huge box office earnings and took home the big prize in 1931. So why have you probably not heard of it? It most likely has something to do with the film's ridiculous storylines, hammy acting, and overt racism.
How Green Was My Valley (1941)
John Ford's heart-warming tale about Welsh coal miners has earned the unfortunate notoriety of stealing the Best Picture Oscar from what many call the best movie ever made, "Citizen Kane." In some cinephile circles, the movie is regarded with a distain usually reserved for tobacco lobbyists and banking executives.
Around the World in 80 Days (1956)
Sure, this epic spectacle was shot in 70mm and featured lots of location footage, which was pretty impressive at the time, but it's also about as deep as the skin on tomato soup. James Dean's final movie "Giant" would be an infinitely better choice.
Rocky (1976)
The Academy couldn't possibly have foreseen "Rocky" IV, V or VI when they handed this film a trophy. That being said, Stallone's pugilist fairy tale seems pretty pale next to its fellow nominees, "Network," "All the President's Men," and of course Martin Scorsese's "Taxi Driver." Over the years, the Academy developed a fetish for nominating but not rewarding Scorsese's best work.
Ordinary People (1980)
Another example of the Academy hosing Scorsese. "Ordinary People," about emotionally-repressed suburbanites, is a well-crafted, well-acted movie. It just not even in the same ballpark as Marty's savage masterpiece "Raging Bull," a movie that many critics have dubbed the best of film of the 1980s.
Driving Miss Daisy (1989)
A well-meaning but muddle-headed Best Picture winner about rich white folk learning a little something about racism by talking to the help. The film's warm and fuzzy Hallmark card version of race relations is particularly galling since Spike Lee's "Do the Right Thing" -- the actual best pic of the year -- wasn't even nominated.
Dances With Wolves (1990)
In a perfect world, the poor would be fed, the Cubs would win the World Series, and "Goodfellas" would have won Best Picture. Instead, this steaming pile of self-congratulatory new-age twaddle got the nod. Director Kevin Costner went on to make "The Postman" while Scorsese would have to wait sixteen more years before landing the prize in 2006 for "The Departed."
Forrest Gump (1994)
Robert Zemeckis' manipulative, schmaltzy Boomer yarn made piles of cash and wowed about half the critics in the country, but the movie's sentimental platitudes and cheap nostalgia really don't hold a candle to "Pulp Fiction," the most influential and imitated film of the '90s.
Gladiator (2000)
A poor man's "Spartacus" tarted up with lots of CGI. For a director as talented as Ridley Scott, it's hard to understand why the action scenes in "Gladiator" were as incoherent as they were. It was as if the entire editing staff was hopped up on Red Bull and Twinkies. If you want to see better-constructed action scenes in a better movie, check out the flick that should have won, "Crouching Tiger, Hidden Dragon."
Crash (2005)
One of the great "What were they thinking?" moments of Oscardom. Instead of choosing the best-reviewed movie of the year -- "Brokeback Mountain" -- the Academy picked this contrived, hectoring paean to liberal guilt. What made Ryan Phillippe shoot that guy? Racism. What made Ludacris jack that car? Racism. What made Sandra Bullock fall down the stairs? Racism. The movie is about as nuanced as a hammer blow to the head, as enjoyable as listening to your parents fight, and about as honest as your average Enron executive.
So this year, will the Academy get it right for a change or will it drop the ball once again? And what Oscar winners of the past do you think had no business taking home the gold?
Cimarron (1931)
Here is a flick that really hasn't stood the test of time. "Cimarron," a big-budget tale about how the West was won, racked up huge box office earnings and took home the big prize in 1931. So why have you probably not heard of it? It most likely has something to do with the film's ridiculous storylines, hammy acting, and overt racism.
How Green Was My Valley (1941)
John Ford's heart-warming tale about Welsh coal miners has earned the unfortunate notoriety of stealing the Best Picture Oscar from what many call the best movie ever made, "Citizen Kane." In some cinephile circles, the movie is regarded with a distain usually reserved for tobacco lobbyists and banking executives.
Around the World in 80 Days (1956)
Sure, this epic spectacle was shot in 70mm and featured lots of location footage, which was pretty impressive at the time, but it's also about as deep as the skin on tomato soup. James Dean's final movie "Giant" would be an infinitely better choice.
Rocky (1976)
The Academy couldn't possibly have foreseen "Rocky" IV, V or VI when they handed this film a trophy. That being said, Stallone's pugilist fairy tale seems pretty pale next to its fellow nominees, "Network," "All the President's Men," and of course Martin Scorsese's "Taxi Driver." Over the years, the Academy developed a fetish for nominating but not rewarding Scorsese's best work.
Ordinary People (1980)
Another example of the Academy hosing Scorsese. "Ordinary People," about emotionally-repressed suburbanites, is a well-crafted, well-acted movie. It just not even in the same ballpark as Marty's savage masterpiece "Raging Bull," a movie that many critics have dubbed the best of film of the 1980s.
Driving Miss Daisy (1989)
A well-meaning but muddle-headed Best Picture winner about rich white folk learning a little something about racism by talking to the help. The film's warm and fuzzy Hallmark card version of race relations is particularly galling since Spike Lee's "Do the Right Thing" -- the actual best pic of the year -- wasn't even nominated.
Dances With Wolves (1990)
In a perfect world, the poor would be fed, the Cubs would win the World Series, and "Goodfellas" would have won Best Picture. Instead, this steaming pile of self-congratulatory new-age twaddle got the nod. Director Kevin Costner went on to make "The Postman" while Scorsese would have to wait sixteen more years before landing the prize in 2006 for "The Departed."
Forrest Gump (1994)
Robert Zemeckis' manipulative, schmaltzy Boomer yarn made piles of cash and wowed about half the critics in the country, but the movie's sentimental platitudes and cheap nostalgia really don't hold a candle to "Pulp Fiction," the most influential and imitated film of the '90s.
Gladiator (2000)
A poor man's "Spartacus" tarted up with lots of CGI. For a director as talented as Ridley Scott, it's hard to understand why the action scenes in "Gladiator" were as incoherent as they were. It was as if the entire editing staff was hopped up on Red Bull and Twinkies. If you want to see better-constructed action scenes in a better movie, check out the flick that should have won, "Crouching Tiger, Hidden Dragon."
Crash (2005)
One of the great "What were they thinking?" moments of Oscardom. Instead of choosing the best-reviewed movie of the year -- "Brokeback Mountain" -- the Academy picked this contrived, hectoring paean to liberal guilt. What made Ryan Phillippe shoot that guy? Racism. What made Ludacris jack that car? Racism. What made Sandra Bullock fall down the stairs? Racism. The movie is about as nuanced as a hammer blow to the head, as enjoyable as listening to your parents fight, and about as honest as your average Enron executive.
So this year, will the Academy get it right for a change or will it drop the ball once again? And what Oscar winners of the past do you think had no business taking home the gold?
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