The Worst Films to Ever Win Best Picture
The Academy Awards represents the pinnacle of filmmaking, and no prize is higher than that of Best Picture. While many Best Picture winners were instant classics, there are others that haven't stood the test of time.
Every film listed here is, by definition, a winner - and there's no doubt that most listed here are good movies in many regards. That said, there are strong arguments that most of these didn't deserve quite as many accolades as they received.
Rain Man (1988)
Rain Man features a compelling hook and two strong leads, with Tom Cruise and Dustin Hoffman teaming up to tell the story of an autistic savant and his brother.
While the film was a major box office success and received positive reviews, some reviews - even at the time - pointed out its uneven plot and sloppy writing. Without the compelling performances by Hoffman and Cruise, it's entirely possible that this film would have been quickly forgotten.
From Here to Eternity (1953)
This 1953 film depicted the trials and romantic tribulations of a trio of American soldiers stationed in Hawaii during the early days of World War II - and owing to the immediacy of the conflict, it no doubt struck a personal chord with many audiences of the day.
For those who can immerse themselves in movies of this era, it remains a solid romantic film - and for film scholars, it's still worth watching to this day. That said, the film has little going for it aside from its romantic plots, and (like many of its contemporaries) has aged relatively poorly.
Chicago (2002)
A brash, grandiose film adaptation of a musical - which in itself was adapted from a 1920s play - Chicago is a journey into the corruption and scandal of the Jazz Age.
With a big budget, big stars, and strong promotion, Chicago grossed nearly a third of a billion dollars at the box office and won Best Picture at the Oscars - but behind its rousing, cinematic scope, it's a simple, streamlined film with little depth.
American Beauty (1999)
Director Sam Mendes explored the existential anguish of midlife crisis in the suburbs with his 1999 debut, American Beauty. It's no doubt a compelling film, blending dark humor, surreal imagery, and deeply relatable emotions.
Despite its critical acclaim, it's aged far worse than many other films of its era. Critics point to its creepy plotline involving Kevin Spacey's character and his underage neighbor, along with the lack of critical insight into just how privileged many of the film's characters are.
Dances with Wolves (1990)
Clocking in at more than three hours long, Dances with Wolves is an example of a critically acclaimed, important film that most viewers won't want to watch more than once.
Reviewers praised its epic scope and unique perspective. That said, it attracted criticism for its inaccuracies and the overly simplified view of the Lakota culture that it sought to honor. More recently, it's been panned as a "white savior" film for its portrayal of Kevin Costner's character.
Grand Hotel (1932)
Grand Hotel serves as a good introduction to some of early Hollywood's biggest stars, including Greta Garbo, John Barrymore, and Joan Crawford. It also served as somewhat of a trend-setter, clocking in at nearly two hours long in an era in which most films were much shorter.
The film is still a showcase for Garbo's underrated acting depth, but many aspects make it a difficult watch in the 21st century. Some films are simply too dated and lack the timelessness required for modern audiences to enjoy.
Ben-Hur (1959)
Hollywood was known for its epic films of the '50s and '60s, and 1959's Ben-Hur may well represent the peak of this era. With its unprecedented budget, massive set, and Charlton Heston in the lead role, it was no surprise when it swept the Oscars the following year.
It's still an enjoyable watch for its epic scope, but looking beyond the eye candy, it's a frequently uneven film. In between its incredible setpieces, audiences will likely find themselves bored by the bland dialogue of its quieter scenes.
The Deer Hunter (1978)
A tense war film set amidst the chaos of the Vietnam War, The Deer Hunter arrived at a pivotal time - just three short years after the conflict ended.
Most critics praised the film, and it's still well regarded today. However, some less charitable reviews painted the movie as being overly pretentious - essentially a dumb action film dressed up with high-minded cinematic ambitions.
The Last Emperor (1987)
Despite all odds, 1987's The Last Emperor - depicting Puyi, China's last emperor - resonated with western audiences and won all nine Oscars it was nominated for, including Best Picture.
Like some other Best Picture winners, the film can be criticized for prioritizing style over substance. It glosses over numerous historical events, doesn't delve particularly deeply into Puyi's psyche, and is bland and lifeless for long stretches.
The English Patient (1996)
Epic war dramas with a romantic twist are like catnip to Academy voters, and indeed, 1996's The English Patient was a prime example, winning nine of the 12 awards it was nominated for at the Oscars.
It's a strong literary adaptation with excellent cinematography and strong leads, but its epic scope makes it uneven at times, with a long runtime and ambitions that aren't quite met.
Driving Miss Daisy (1989)
Morgan Freeman and Jessica Tandy make for two excellent leads in 1989's Driving Miss Daisy, the story of a retired southern woman and her chauffeur.
However, the film's portrayal of racism has been criticized for being too simplistic, while also playing into some of the tropes it attempts to examine. A 2015 Hollywood Reporter poll stated that Academy members would likely have voted for My Left Foot over Driving Miss Daisy if they had a second chance.
Chariots of Fire (1981)
Most people remember the theme from Chariots of Fire more than the movie itself, which is a bad sign for any film when it comes to standing the test of time.
It's a fine enough movie, but is incredibly slow and boring throughout. While it may not be the worst Best Picture winner ever, it could be the most forgettable.
The Sound of Music (1965)
The Sound of Music remains one of the best-known movie musicals of all time, telling an idealized tale of love in the Austrian Alps on the eve of World War II.
It's still a favorite and features memorable songs, strong performances, and sweeping cinematography - but it's been criticized, ever since its release, for being entirely too saccharine.
Tom Jones (1963)
An adaptation of a classic novel about an orphan, 1963's Tom Jones is just one retelling of an old story. It was praised by critics and was a massive hit at the box office.
Critics at the time praised it for its attention to historical detail, but outside of its cinematography and performances, it's a frequently uneven film - an inexcusable error given its strong source material.
Gentleman's Agreement (1947)
Gentleman's Agreement deserves credit for its thoughtful exploration of prejudice in an era where such plotlines were rare. However, the points it makes are somewhat undone by the fact that it only explores a narrow, upper-class subsection of people.
It's still viewed as an important and groundbreaking film, but its themes are better explored in movies that would follow.
Terms of Endearment (1983)
Grounded epics spanning decades of a family's history were popular in the early '80s, with On Golden Pond and Terms of Endearment remaining the best-known examples.
The latter film was nominated for 11 Oscars, winning five including Best Picture. It's still immensely watchable, anchored by strong performances from Jack Nicholson and Debra Winger. That said, it's often too melodramatic in its efforts to pull on the audience's heartstrings.
Gladiator (2000)
Gladiator is a spirited, big-budget romp through the world of gladiators in ancient Rome. Russell Crowe's performance as Maximus Decimus Meridius is strong, and the breezy film feels far shorter than its 155-minute runtime.
It's a compelling, visually rich film, but its plot - which seemingly strives for grounded realism - often becomes silly and unbelievable. Aside from Crowe's character, most characters in the film are dull and wooden.
Green Book (2018)
A box office success with strong lead performances, Green Book was a surprising Best Picture winner, as it was frequently criticized for being derivative of Driving Miss Daisy.
The movie does a better job in terms of depicting hostilities in the segregated South, it also falls victim to the "white savior" trope, along with a bigot's redemption arc that doesn't feel particularly earned.
Braveheart (1995)
Braveheart is a violent historical drama, setting the stage for many of the Mel Gibson films that would follow. Despite its box office success and contemporary critical acclaim, it's perhaps surprising that it won Best Picture, given its reliance on violence and lack of subtlety.
While it remains an immensely watchable movie, it's self-indulgent at times - and unlike many historical Best Picture winners, it completely butchers the history on which it's based.
Forrest Gump (1994)
Forrest Gump is still a beloved film, and while its retelling of postwar Americana through the eyes of a well-meaning, simple Alabama man makes for an easy watch, it's a film that's perhaps a little too devoid of substance.
Modern re-appraisals of the film have painted it as a syrupy melodrama that glosses over difficult topics in favor of pure sentimentalism.
A Beautiful Mind (2001)
Russell Crowe's captivating portrayal of troubled mathematician John Nash in A Beautiful Mind helped propel the movie to Oscars success. It's still a compelling and well-acted film to this day.
While it's still worth watching, the film suffers from an overly simplified depiction of schizophrenia and a retelling of events that's oftentimes too neat and convenient.
Crash (2005)
Now regarded as one of the worst films to ever win the top prize at the Oscars, backlash to Crash started shortly after its release in 2005. While the film tries to be a thoughtful meditation on bigotry and race relations, it comes off as a heavy-handed bore that fails to meet its ambitions.
Most notably, the film is far too simplified when it comes to its portrayal of complex dynamics. Furthermore, the redemption of Matt Dillon's character felt entirely unearned.
Going My Way (1944)
One of the bigger hits from the golden age of musical comedies, Going My Way harnesses the talents of Bing Crosby in a lead role. It was a product of its time, with its light and airy plot making for a much-needed relief from the grim realities of World War II.
If one could go back in time, they may enjoy the movie by 1944 standards - but despite its breezy plotline, it feels anachronistic and unnecessary by 2020s standards.
Titanic (1997)
Titanic remains a classic for good reason - and while it's a beloved movie to this day, most audiences watch it for its spectacular special and practical effects and charismatic leads rather than its cinematography.
Indeed, the star of the movie is the great ship itself, and it's a visually impressive movie to this day. That said, its actual plot is a largely forgettable melodrama with weak dialogue.
Around the World in 80 Days (1956)
An epic comedy based on Jules Verne's classic novel, Around the World in 80 Days provided pure escapism for moviegoers. It told the tale of an epic worldwide trip in a hot air balloon.
It's an intriguing premise that would likely work well in any era, and to the film's credit, it's well acted with excellent cinematography. However, it's yet another example of an extravagant film with very little depth beyond its shallow plot.
Cavalcade (1933)
Cavalcade got its story from a strong source, as it was based off of a play by the same name by acclaimed playwright Noel Coward. Ambitious in its scope, it told the tale of day-to-day English life over a three-decade period.
It was by all accounts an excellent film by early '30s standards, but modern audiences will likely see past its grandiose scope and see a movie that's overly maudlin, overacted, and full of undeserved emotional payoffs.
Out of Africa (1985)
An epic romance based on the memoirs of Danish author Karen Blixen, Out of Africa had Oscar winner written all over it - especially considering the bonafides of its leads Meryl Streep and Robert Redford. Indeed, the film won Best Picture and Best Director at the Oscars.
However, a critical re-appraisal shows that the film is more style than substance, with a focus on cinematography at the expense of intriguing plotlines. If not for its talented leads and strong cinematography, it would likely never have sniffed an Academy Award.
Cimarron (1931)
Cimarron was the first Western to win Best Picture - and, until Dances with Wolves in 1990, the only Western to bring home the award.
The sweeping epic was well received by audiences at the time, but serves as a case study in how changing tastes can make certain media irrelevant. To modern eyes, the movie is incredibly dated for its use of bigoted caricatures and weak storytelling.
The Greatest Show on Earth (1952)
One of the big-budget technicolor epics of the early '50s, The Greatest Show on Earth dramatizes the competition between the Ringling Brothers and Barnum & Bailey circus acts.
While the film was a hit and took home Best Picture at the Oscars, it's been regarded right from the start as perhaps the weakest selection in Academy Awards history. It's been alleged that political influences led to it winning the big prize over other, more deserving films.
The Broadway Melody (1929)
It's perhaps unfair to single out such an old film, as The Broadway Melody was the first "talkie" to win Best Picture. It's a relic of a different era, when the filmmaking industry was still finding its legs after transitioning from silent movies.
With this in mind, it's clear by modern standards that everything that set The Broadway Melody apart back in 1929 - its technicolor bonafides, use of audio and sounds, and big musical numbers - quickly became the status quo in movies moving forward. As such, The Broadway Melody has little to offer to modern audiences aside from its historical value.
Dan Gray
