Best Picture Winners, Ranked: Nos. 56-51

In this eighth part of my retrospective Oscar Outlook, I’ll be eliminating the best of the list’s bottom half, including two of the most popular films of the 1970s.

56. “Annie Hall” (1977)

Woody Allen’s specific brand of weirdness, which runs into deeply uncomfortable territory in his personal life, is probably at its least annoying in “Annie Hall.” Yes, this is probably the peak of his neurotic shtick, and while not necessarily my cup of tea, I see the merit. The writing from Allen is sharp, and the social observations carry the movie farther than a lot of Best Picture winners. The difference between the writing of “Annie Hall” and its top Oscar competitor, “Star Wars,” is that one relies on a driving narrative far more than the other. “Annie Hall” is more than happy to meander into ideas and bits rather than follow a central concept. I think of it almost as more of an extended comedy skit than a filmmaking achievement, though that in and of itself might be the achievement.

55. “Chicago” (2002)

Based on the Broadway musical of the same name, “Chicago” is the rare Best Picture winner to not win for its direction or screenplay. That makes some sense, as the screenplay is probably not why someone would be drawn to this project. The creative decision to frame the musical numbers as dream sequences, however, was a brilliant stroke, and it allows the film to seem more bombastic than it might be otherwise. This was a nice comeback for the movie musical at the Oscars, even if it’s not a favorite soundtrack of mine. In the film, the “We Both Reached for the Gun” and “Mister Cellophane” sequences stand out.

54. “Terms of Endearment” (1983)

I have no idea why “Terms of Endearment” was ever described to me as a “chick flick.” First of all, let’s agree to abandon “chick flick” as a dismissive term. Honestly, it’s refreshing to see a Best Picture winner that puts women at the center. And second, “Terms of Endearment” goes hard in the final third. Debra Winger stunned me in her Oscar-nominated performance, and Shirley MacLaine ain’t too shabby in her winning role as the Winger character’s mother. Whenever the two of them are on-screen together, it’s magic. Jack Nicholson’s character is only the third most interesting character in the movie. In what other film is that the case?

53. “Million Dollar Baby” (2004)

Here’s a film that’s right up the Academy’s alley. It’s a boxing movie (like “Rocky”) directed by Clint Eastwood (like “Unforgiven”) and written by Paul Haggis (like the next year’s winner, “Crash”). The good news is that “Million Dollar Baby” is better than at least two of those films. The bad news is that it lacks the inherent charm of a “Rocky,” and relies heavily on its conclusion to hit home. Still, in the lead up to that conclusion, it is quite entertaining. I really like the Hilary Swank performance that drives the film forward, both as a physical and dramatic accomplishment. I hope she gets another strong script at some point.

52. “Argo” (2012)

“Argo” is a movie about the movies, and about the kind of impact a film can have on the wider world. In this case, the film making an impact is phony, but the stakes are real. Set during the Iran hostage crisis, “Argo” was a directing and acting showcase for Ben Affleck. The film balances drama and comedy quite well, courtesy of a strong supporting cast around Affleck. The moment Tony Mendez lands in Iran, the tension becomes nail-biting. It’s another of the Best Picture winners lacking any big artistic swings, but it moves along with a ton of energy.

51. “The Deer Hunter” (1978)

“The Deer Hunter” was one of the raw Vietnam War films that came out in the years that followed the conflict. It lunges for something more tangible than the average moviegoer might get in something like “Apocalypse Now.” The film’s most important thread is Christopher Walken’s character Nick, whose final moment is clearly the most memorable in the film. The tension of Nick’s last act is built up and telegraphed for over three hours, but it still hits hard. Hitting harder is the “God Bless America” closer, which does a lot of heavy emotional lifting. I can only imagine the conflicted feelings of watching the film and having lived through the war as a soldier or a civilian. As someone born over 20 years after the war’s conclusion, I can’t really relate, but ”The Deer Hunter” still makes me feel.

Sam Zavada is counting down his ranking of every Best Picture winner in the history of the Academy Awards in the lead up to this year’s ceremony on March 2. Participate in the Times Leader Readers’ Ballot for the 97th Oscars by filling out the form at https://bit.ly/4hd8n6F. The Readers’ Ballot will close on Friday, Feb. 27, at 8 p.m. and will be revealed in the Saturday, March 1, edition of the Times Leader.