We’re only days away from the 97th Academy Awards, where a crop of new winners will achieve one of Hollywood’s most prestigious accomplishments. The night’s biggest prize is, as always, Best Picture — often the most contentious award of any ceremony.
Since its inception (no pun intended if you continue reading below), 611 films have been nominated for Best Picture and 96 have won the golden statuette.
But if you’ve been paying attention to the Oscars for any amount of time, you know that not every Best Picture winner is great, or that some winners are good but not as good as other nominees. For this list, we’ve spared you one of the most famous and discussed “Oscar robberies” in recent history, since everyone (including Paul Haggis, director of “Crash”) pretty much agrees that “Crash” shouldn’t have beat “Brokeback Mountain” in 2005.
So grab your popcorn and let’s get to arguing.
“Forrest Gump” (1994)
Director Robert Zemeckis’ 1994 “Forrest Gump” is iconic, no doubt. The film’s dialogue and characters have been referenced across all kinds of media and the film — which is good, if not a bit schmaltzy — rightfully has a place in American cinema history. It’s a movie so famous we don’t even need to recount the plot here.
That said, while “Forrest Gump” is good, it’s not as good as some of the great films it beat out for Best Picture at the 67th Academy Awards.
Other nominees: “Four Weddings and a Funeral,” “Pulp Fiction,” “Quiz Show” and “The Shawshank Redemption.”
Could have/should have won: Honestly, there’s a case to be made for any of these others to have won in place of “Forrest Gump,” but the real robbery here is the film winning over Quentin Tarantino’s crime masterpiece “Pulp Fiction.”
While Zemeckis’ film (and Tom Hanks’ performance as the title character) are commendable, they speak to a more traditional kind of film and filmmaking. Tarantino’s “Pulp Fiction,” meanwhile, is widely considered one of, if not the, most influential films of the 1990s and of the 20th Century. The film’s construction, its timeline, its dialogue and its characters were fresh and new at the time and many filmmakers and film critics have credited the film with revolutionizing a new era of filmmaking and of film audiences.
Since its release, “Pulp Fiction” has widely been considered among the best films of all time, including from outlets like the American Film Institute, Time, Total Film, BBC, Empire and more. In 2001, the late Roger Ebert called “Pulp Fiction,” “the most influential film of the decade,” while late critic Richard Corliss also called it “(unquestionably) the most influential American movie of the 90s.”
The film would go on to inspire countless other filmmakers and films, leading many entertainment sites to track such inspirations, including CBR’s feature last summer: “15 movies clearly inspired by ‘Pulp Fiction.’
In short, “Forrest Gump” is cute but it’s not revolutionary.
“A Beautiful Mind” (2001)
This biographical drama directed by Ron Howard follows the real-life story of mathematician John Nash as he juggles his brilliance in his field with increasingly debilitating mental illness. It’s not a bad movie but does anyone remember it? Has anyone watched it multiple times since 2001?
While the film won director Ron Howard and co-star Jennifer Connelly Oscars, its awards (and praise the film received for its depiction of schizophrenia) may be its only lasting legacy.
Other nominees: “Gosford Park,” “In the Bedroom,” “The Lord of the Rings: The Fellowship of the Rings,” and “Moulin Rouge!”
Could have/should have won: While we like all of the other nominees from this year more than we like “A Beautiful Mind,” we think “The Fellowship of the Ring” was the truly deserving winner. The first of Peter Jackson’s “The Lord of the Rings” trilogy, “The Fellowship of the Ring” is a landmark in filmmaking for its sheer scope and craftwork — not to mention kicking off one of the greatest film series in cinema history. As noted by Rotten Tomatoes writer Rafael Motamayor, the film’s utilization of cutting-edge CGI and practical effects were unheard of at the time. The sheer size and quality of Jackson’s film (and its two other chapters) helped open up the possibilities for genre filmmaking in a way few films had before.
Meanwhile, Baz Luhrmann’s jukebox musical “Moulin Rouge!” was a beloved audience-pleasing hit featuring eye-popping visuals, dazzling musical numbers and a classic love story all in one. The film, which was later adapted into a Broadway musical, is also credited with helping revive the movie musical.
Which leaves the quieter auteurist art pieces “Gosford Park” (which would go on to inspire PBS’ “Downton Abbey”) and Todd Field’s intimate family drama “In the Bedroom,” the latter of which has retrospectively been named among the best films of all time. In 2023, New York magazine listed “In the Bedroom” beside classics like “Citizen Kane,” “Taxi Driver” and “There Will Be Blood” in its feature, “The Best Movies that Lost Best Picture at the Oscars.”
Films that weren’t even nominated: “Mulholland Drive,” “The Royal Tenenbaums,” and “Vanilla Sky.” The late, great David Lynch’s masterpiece surreal noir mystery “Mulholland Drive” has not only been named as the greatest film of the 21st Century by BBC, it placed eighth in Sight & Sound’s 2022 “Greatest Films of All Time” critics’ list. The list, which is only published every 10 years was voted on by 1,639 filmmakers, academics, and critics and is widely considered a very substantive honor. This should not only have been nominated but, honestly, should have won.
Lack of impact makes “A Beautiful Mind” a miss by the Academy.
“Spotlight” (2015)*
No one would argue the backstory of Tom McCarthy’s “Spotlight” isn’t important: the film follows the real-life story of a team of journalists at the Boston Globe who worked to expose systemic child sex abuse by clergymen of the Roman Catholic Archdiocese of Boston. The investigation led to hundreds of criminal cases (and multiple convictions) being filed as more and more victims of the abuse came forward with their stories. The story and the film are tributes to both those seeking to help victims, in addition to everyday journalists who are trying to do the right thing.
*”Spotlight” is a well-made, well-directed, well-written and well-acted film. This actually is not a “worst” win — we just happen to think another film would have been a better winner.
Other nominees: “The Big Short,” “Bridge of Spies,” “Brooklyn,” “Mad Max: Fury Road,” “The Martian,” and “Room.”
Could have/should have won: Although multiple films in this year’s category were also deserving, one film ranks head and shoulders above the others for impact and innovation. Make no mistake about it: “Mad Max: Fury Road” was not only 2015’s best film, it’s also widely considered one of the best films of the 2010s and one of the greatest action films ever made. George Miller’s rollicking fourth installment in the “Mad Max” franchise placed 19th in BBC’s critics’ poll on the Best Films of the 21st Century, in addition to:
- No. 1 on Empire’s 100 Greatest Movies of the 21st Century
- No. 1 on the A.V. Club critics’ 100 Best Movies of the 2010s
- No. 3 on Variety’s The Best Films of the Decade list
- No. 9 on the Hollywood Reporter’s 10 Best Films of the Decade
- Named to the unranked New York Times’ 10 Most Influential Films of the Decade
The film — and its creation — is such a Hollywood marvel, they were even meticulously documented in the acclaimed book “Blood, Sweat & Chrome: The Wild and True Story of Mad Max: Fury Road,” by New York Times reporter Kyle Buchanan.
“Mad Max: Fury Road” is a masterpiece, pure-and-simple. It’s an action blockbuster that not only shows the best of what filmmaking can do, it pushed the medium even farther. For that alone, it deserved Best Picture.
Films that weren’t even nominated: “Carol,” “The Hateful Eight,” “Anomalisa,” “Blackhat,” “Tangerine,” and “Ex Machina.”
“CODA” (2021)
Next, we come to a real head scratcher.
While Sian Heder’s coming-of-age dramedy, about a teen pursuing singing as a child of deaf adults (CODA), has charms and deserves recognition for its representation of deaf people and their experiences (though some in the deaf community have mixed feelings), “CODA” is kind of, for lack of a better term, “mid.”
It’s a sweet film, for sure, and is elevated by the well-rounded performances by deaf actors Troy Kotsur, Marlee Matlin and Daniel Durant. Overall, however, “CODA” feels kind of slight — more like a TV episode than a film that won Best Picture at the 94th Academy Awards.
And unfortunately for this sweet, innocent movie, it was up against some pretty great films.
Other nominees: “Belfast,” “Don’t Look Up,” “Drive My Car,” “Dune,” “King Richard,” “Licorice Pizza,” “Nightmare Alley,” “The Power of the Dog” and “West Side Story.”
Could have/should have won: “Drive My Car,” “Dune,” “Licorice Pizza,” “The Power of the Dog,” “Nightmare Alley,” and “West Side Story.”
There are arguments for several of the films here to have won over “CODA,” whether that be the scope and excellence of Denis Villeneuve’s first “Dune” installment; the power and gravitas of Jane Campion’s western drama “The Power of the Dog”; or the magnitude and craftsmanship of Steven Spielberg’s terrific (and underrated) “West Side Story” adaptation.
Films that weren’t even nominated: “The Last Duel,” “The French Dispatch,” “Spencer,” “Red Rocket,” “The Lost Daughter,” “The Card Counter,” “Annette,” and “The Tragedy of Macbeth.”
“Green Book” (2018)
How can a Best Picture win be immediately dated?
While Peter Farrelly’s biographical drama “Green Book” was a hit with audiences and many critics at the time, time hasn’t been kind to its reputation.
The film, starring Viggo Mortensen and Mahershala Ali, is inspired by the real-life story of Black pianist Don Shirley (Ali) and white bouncer Frank “Tony Lip” Vallelonga (Mortensen), who served as Shirley’s bodyguard and driver during a tour of the Deep South in the early 1960s. The film, which focuses on racial relations during the Civil Rights Movement, is also viewed from the perspective of its white character, a choice that has been widely criticized.
Even at the time of the film’s release, many criticized the film for perpetuating the “white savior” and/or “Magical Negro” narratives as seen in other Academy Award-nominated and/or winning films like “Driving Miss Daisy,” “The Help” and “The Blind Side.” Though director Farrelly told Entertainment Weekly he hoped to avoid the stereotype while making the film, it didn’t spare the box office hit from being labeled by some as “a movie to make white people feel good about themselves.”
The selection of “Green Book” for Best Picture also feels like a misfire considering the excellent Black-directed, Black-starring films it beat out (more on that below).
There’s also the issue regarding the historical accuracy of “Green Book,” as some of Shirley’s relatives later knocked the film for misrepresenting Shirley’s family life and his relationship with his driver, with Shirley’s brother stating, “My brother never considered Tony to his ‘friend.’ He was an employee, his chauffeur (who resented wearing a uniform and cap).”
All of which is to say, real-life controversy aside, the film is just kind of okay.
Other nominees: “Black Panther,” “BlacKkKlansman,” “Bohemian Rhapsody,” “The Favourite,” “Roma,” “A Star is Born,” and “Vice.”
Could have/should have won: “BlacKkKlansman,” “Black Panther,” “The Favourite,” “Roma,” and “A Star is Born.” Both “Black Panther” and “BlacKkKlansman” were made for and center Blackness in ways “Green Book” postures at. These two films — by two accomplished directors — presented fresh and new ideas for how Black stories can be told on screen. Both would have been better winners. Of the rest, we’d vote for Alfonso Cuarón’s intimate and emotional “Roma” or Bradley Cooper’s triumphant directorial debut musical “A Star is Born.”
Films that weren’t even nominated: “If Beale Street Could Talk,” “Widows,” “Suspiria,” “Can You Ever Forgive Me?”, “Hereditary,” “First Reformed,” and “Eighth Grade.”
“Shakespeare in Love” (1998)
Be honest, the last time most of us watched this movie is via the iconic scene in “Scary Movie” (2000) when Brenda Meeks (Regina Hall) is comedically killed during a screening of “Shakespeare in Love” for talking too much.
While John Madden’s period romantic comedy — following playwright William Shakespeare during the writing of “Romeo and Juliet” — isn’t bad in-and-of-itself, this remains a controversial Academy pick for Best Picture not only for what it beat out but also for its targeted awards campaign helmed by disgraced former mega-producer and Miramax co-founder Harvey Weinstein.
The way that Weinstein and Miramax changed the way studios campaigned for Oscars is well-documented, with Michael Schulman, author of “Oscar Wars: A History of Hollywood in Gold, Sweat and Tears,” telling BBC Culture that Weinstein’s approach was like that of a political campaign. In an oral history of the “Shakespeare in Love” Oscar campaign, the Hollywood Reporter’s Scott Feinberg calling it “the nastiest Oscar campaign ever” — which included multiple millions in advertising and with Weinstein using his considerable influence to strong arm employees and industry people alike into promoting the film. That’s in addition to private dinners for certain Oscars voters, rumored rule-breaking phone banking (denied by Miraxmax VP Special Projects Cynthia Swartz via THR), and claims by marketing execs at Dreamworks — the studio behind Steven Spielberg’s “Saving Private Ryan” — that they learned Weinstein had hired other publicists to bad-mouth Spielberg’s film. This is known as a “whisper campaign.”
“I started to get all these calls from press saying, ‘Harvey Weinstein has hired publicists… and, just so you know, they’re trying to get us to write stories saying that the only thing amazing about ‘Ryan’ is the first 20 minutes, and then after that it’s just a regular genre movie,” Terry Press, Dreamworks Marketing Chief, told THR.
All of which culminated in a shocking Best Picture reveal at the 71st Oscars, where “Saving Private Ryan,” was widely believed to be the inevitable winner. Though “Shakespeare in Love” isn’t the worst film to win, its win is among the worst — which most consider was bought and paid for by Weinstein.
Other nominees: “Elizabeth,” “Life is Beautiful,” “Saving Private Ryan,” and “The Thin Red Line.”
Could have/should have won: “Saving Private Ryan,” was not only a mega box office hit but was a critical darling upon release. Its legacy has only strengthened with time and it’s widely considered among the (if not the) greatest war movies of all-time. A few other accolades the film’s picked up since 1998:
- No. 71 on American Film Institute’s “100 Greatest American Films of All-Time”
- No. 46 on The Hollywood Reporter’s “Hollywood’s 100 Favorite Films” list, which was voted on by 2,120 film industry insiders
- No. 54 on Empire’s “100 Best Movies of All Time”
- No. 39 on Screen Rant’s “60 Best Movies of All Time”
- Listed among Rotten Tomatoes’ “300 Essential Movies to Watch Now”
- No. 10 on Variety’s “100 Best Movies of All Time”
Finally, two things.
Impact: “Saving Private Ryan” is well-known to have changed the format and intensity of war movies, with multiple outlets pointing out the film’s influence on other films, including “Black Hawk Down” and “Dunkirk,” per Collider. And finally, the Academy itself seems aware that the “Shakespeare in Love” win was a mistake, with a 2015 poll of Oscar voters by the Hollywood Reporter finding the majority of polled voters said they’d choose “Saving Private Ryan” if they had a do-over.
Films that weren’t even nominated: “The Big Lebowski,” “Rushmore,” and “A Bug’s Life.”
“The King’s Speech” (2010)
Finally, we come to what we consider the actual worst offender on this list.
Not because Tom Hooper’s historical drama “The King’s Speech” is a bad movie. The film, which follows the speech and language therapy of King George VI, is perfectly fine. But its win is especially egregious considering what it beat out. And this year’s slate of nominees contains some generation-defining classics that not only changed the game but have stood the test of time.
Despite believing the film should not have won Best Picture, we would like to acknowledge the relative acclaim it received from stuttering organizations and community members, who praised the film for its accurate and empathetic depiction of experiences shared by people who live with the speech disorder.
Other nominees: “Black Swan,” “The Fighter,” “Inception,” “The Kids Are All Right,” “127 Hours,” “The Social Network,” “Toy Story 3,” “True Grit,” and “Winter’s Bone.”
Could have/should have won: “Black Swan,” “Inception,” “The Social Network,” and “Toy Story 3.” Honestly, there’s a case to be made for most of the nomination films this year but most specifically, four films were the ones that have gone on to be among the most influential, relevant and beloved films for an entire generation of people (probably millennials).
Darren Aronofsky’s “Black Swan” is a dreamy phantasmagoria following ballerina Nina (Natalie Portman) as she attempts to achieve perfection as the star of a production of Tchaikovsky’s “Swan Lake.” Along the way, however, Nina loses grip on her life — and on reality. Aronofsky’s stylish direction and the film’s mysterious tension are all only enhanced by a performance that won Portman a Best Actress Oscar. “Black Swan” is a film that continues to be discussed and analyzed all these years later, with viewers discovering new meaning with repeated watches.
Meanwhile, there’s “Toy Story 3,” which we consider to be not only the best “Toy Story” film to date but we also think it’s Pixar’s best film to date (and we’re not the only ones). At the time, Lee Unkrich’s beautiful film brought the series to a satisfying and thoughtful close, touching on themes of growing up, growing old and moving on. A deserving winner, no matter how unlikely it would’ve been.
Next, we come to Christopher Nolan’s iconic dream-heist masterpiece, “Inception.” The film follows a thief (Leonardo DiCaprio) who steals information by infiltrating people’s dreams — and Nolan’s direction (and cinematography by Wally Pfister) are game to match this story with impossibly intricate, gravity-and-logic defying set pieces that have become pop culture touchstones for countless filmgoers. This movie is so beloved and so-often-watched, a single sound from “Inception” has become famous and appeared in multiple other films, TV shows, etc since 2010. The film has been named among “greatest films of all-time” by Empire, the Hollywood Reporter, Total Film, Forbes and BBC. “Inception” is one of the movie-st movies of all-time and would have been a deserving winner.
And finally, there’s David Fincher’s cutting edge commentary on social media, persona and loneliness, “The Social Network.” The film stars Jesse Eisenberg as fledgling Facebook founder Mark Zuckerberg, as he navigates launching the future social media juggernaut with his personal relationships. At the time of the film’s release, social media was still relatively new (Instagram was launched in October of the year this film was released) and Fincher’s tense and slick film seemed to have captured the zeitgeist of then, but most importantly has continually captured societal feelings as time has gone on. That’s relevance. In the intervening years, “The Social Network” has frequently appeared on retrospective 2010s “best of” lists, with Esquire dubbing it “‘Citizen Kane’ for the internet age,” Polygon naming it the best film of the decade —an opinion shared by none other than director Quentin Tarantino.
Lightning round
Here’s a few others we thought of, while we’re at it.
1990
Won: “Dances with Wolves.”
Better winner(s): “Goodfellas.”
2017
Won: “The Shape of Water.”
Better winner(s): “Call Me By Your Name,” “Dunkirk,” “Get Out,” or “The Shape of Water” (we don’t refute it as deserving. This is more of a consideration)
2012
Won: “Argo.”
Should have won: “Django Unchained.”
Not every winner is a winner.
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