The Oscars Got It Wrong: The Movies That Should Have Won Best Picture
The Oscars are meant to be a snapshot of a year in film. A celebration of the best movies, the most important stories, and the artistry that defined that moment. But sometimes they miss. Badly.
I have always wondered if Best Picture should be awarded five years after a film’s release. Obviously that would never work, but it is tempting to imagine how different the winners might look. With time we get perspective. We see which films actually stay in the culture, which influence future filmmakers, and which truly represent the best work from their directors or actors. Without that hindsight, the Academy often falls for the frontrunner, the sentimental choice, or a performance-driven career award. Sometimes the decision is pure politics.
For this list I am only looking at movies that were actually nominated for Best Picture. As much as I would love to rant about films like Eternal Sunshine of the Spotless Mind, which was not even nominated yet towers over Million Dollar Baby in cultural relevance, that is a topic for another time.
Here are the years where history proves the Oscars got it wrong.
2006: Crash over Brokeback Mountain
This was not just a wrong call, it was a refusal to meet the moment. Brokeback Mountain was groundbreaking, emotionally devastating, and a landmark in queer cinema. Many believe homophobia within the Academy played a role in its loss, and it is hard to argue otherwise.
1995: Forrest Gump over Pulp Fiction
This one is tricky because Forrest Gump still has a place in pop culture. But Pulp Fiction is Quentin Tarantino’s masterpiece, a film that revolutionized modern cinema. Its influence is still visible today, and its edge was exactly what the Academy avoided in the mid-90s.
2011: The King’s Speech over The Social Network
The Social Network has only grown in relevance, becoming one of the most acclaimed films of the century. David Fincher’s direction, Aaron Sorkin’s razor-sharp script, and its prescient look at the rise of social media make it a defining work of our time. The King’s Speech, while well made, fits every “Oscar bait” stereotype and owes its win in part to Harvey Weinstein’s notorious campaigning tactics.
2018: The Shape of Water over Get Out
Guillermo del Toro’s film is a beautiful tribute to classic Hollywood monster movies, and his career certainly deserved recognition. But Get Out was more than a great horror film. It was a cultural earthquake. Jordan Peele’s debut was sharp, socially charged, and arguably has become the defining horror film of the 21st century.
2019: Green Book over The Favourite
Most people argue Roma should have won this year, but The Favourite is Yorgos Lanthimos at his peak. With its unique visual style, biting humor, and layered performances, it is the kind of daring film the Academy rarely rewards, and one that has aged far better than Green Book.
1998: Shakespeare in Love over Saving Private Ryan
A perfectly fine romantic dramedy stood in the way of one of the greatest war films ever made. Steven Spielberg’s Saving Private Ryan was a technical marvel and a haunting anti-war statement. Once again Harvey Weinstein’s aggressive campaign tilted the race.
1939: Gone with the Wind over The Wizard of Oz
Both are classics, but The Wizard of Oz remains universally beloved and culturally alive. From its music to its imagery, it continues to captivate audiences of all ages, something Gone with the Wind cannot quite claim today.
1990: Dances with Wolves over Goodfellas
Kevin Costner’s sweeping western had box office power, strong performances, and an “important” message. But Goodfellas is Martin Scorsese at his finest. Stylish, electrifying, and endlessly rewatchable, it is the film that changed the gangster genre forever.
1941: How Green Was My Valley over Citizen Kane
Perhaps the most famous Oscar misstep. Citizen Kane is often called the greatest film ever made thanks to its groundbreaking storytelling, technical innovations, and lasting influence. Its loss can be traced to dirty politics. The film’s target, William Randolph Hearst, worked hard to bury it, and the Academy preferred the safer choice.
History Always Has the Last Word
In the moment, the Oscars are a reflection of the tastes, politics, and sensibilities of their time. With distance, we can see more clearly. The problem is that we cannot rewrite history. These wins are locked in forever, which is exactly why we keep talking about the ones that got away.
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