In this fourteenth part of my retrospective Oscar Outlook, I’ll be eliminating a pair of films that won Best Picture prizes at the same ceremony, an X-rated masterpiece, and one of the most influential films of the past 20 years.
In this thirteenth part of my retrospective Oscar Outlook, I’ll be eliminating Alfred Hitchcock’s Best Picture winner, a film close to the hearts of Pennsylvanians, and the highest grossing movie of all-time.
In this fifth part of my retrospective Oscar Outlook, I’ll be eliminating some solid but bland Best Picture winners, as well as a cutting-edge New Hollywood film that’s never appealed to me.
In this fourth part of my retrospective Oscar Outlook, I’ll be eliminating movies that took big creative or aesthetic swings, but were a bit shaky in their execution.
In this second part of my retrospective Oscar Outlook, I’ll be eliminating a couple of films that simplify the complicated, and a monstrosity from the 1950s that amounts to very little.
The year was 1992. The first ever horror film (if you want to call it horror), I say more suspense than anything, went on to surprise the land by winning Best Picture, Best Actor, Actress, Director, and Screenplay at the coveted Academy Awards ceremony. Can you guess the movie I speak of? Well, if you thought The Silence of the Lambs, you were more than correct, and I applaud you!
LOS ANGELES — “Oppenheimer,” a solemn three-hour biopic that became an unlikely billion-dollar box-office sensation, was crowned best picture at a 96th Academy Awards that doubled as a coronation for Christopher Nolan.
