I understand the historical inaccuracies and the Mel Gibson factor, but Braveheart remains a thrilling and entertaining epic for me. Hindsight’s a bitch: I might be in the minority that still thinks Braveheart was the best film of those five nominees.
What it beat: Apollo 13, Babe, The Postman, Sense and Sensibility It’s a violent spectacle that hasn’t held up well with historians and critics alike and is often confused as a vanity project for Gibson. Summary: Braveheart, Mel Gibson’s tale of William Wallace – a 13th century warrior who united Scotland against the British for their independence – is a huge film with incredible action sequences, an emotional love story, and a few technical wonders. Take your pick among those three in what was a slightly below average year for film, during the peak of Covid-19 uncertainty. Since then, the two movies that seem to have hung around my mind the most are Judas and the Black Messiah and Sound of Metal. Hindsight’s a bitch: At the time, I named Lee Isaac Chung’s Minari the best of 2020, which will always be remembered as the year of Covid.
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What it beat: The Father, Judas and the Black Messiah, Mank, Minari, Promising Young Woman, Sound of Metal, The Trial of the Chicago 7 Through the lens of a free-spirited woman searching for her rightful place in a world that seems to have discarded her, the film gracefully captures her resilience and inner journey. Joshua James Richards’ masterful cinematography shines in this intimate film, which transcends the portrayal of the bleak nomad lifestyle and instead delves into a captivating character study. Summary: Frances McDormand stars as Fern, a woman living in her van after her husband’s death and a recession hits her town hard. Hindsight’s a bitch: While the performances in Who’s Afraid of Virginia Woolf? make it a fine choice for the best film of 1966, Sergio Leone’s western magnum opus, The Good, the Bad and the Ugly, is the film that will likely be celebrated longest. What it beat: Alfie, The Russians Are Coming The Russians Are Coming, The Sand Pebbles, Who’s Afraid of Virginia Woolf? Costume dramas have long been a tough watch for me – often buttoned up too tightly with overstuffed pageantry and an exhausting air of elitism – and it feels like more of the same with A Man for All Seasons. One could argue I am underrating Fred Zinneman’s film a bit here. The former would win the Oscar for Best Actor.
A tale of political corruption, the film stars Paul Scofield as Sir Thomas Moore who goes up against Robert Shaw as King Henry VIII. Summary: Like Gandhi and Chariots of Fire, A Man For All Seasons is another British history lesson. So, grab your popcorn, settle into your seats, and join us as we unveil the next set of Best Picture winners that have taken their place among the titleholders. While there are certainly understandable and commendable winners, the list also sheds light on the Academy’s glaring omissions, where deserving films each year were overlooked. Part Two of the discussion highlights a recurring theme: the prevalence of good movies surpassing truly great ones. From timeless films to groundbreaking works of art, these movies have left an indelible mark on the cinematic landscape. In Part Two, we continue our journey through the annals of Oscar history to celebrate the classics that have captivated audiences and stood the test of time. Measuring impact, enduring legacy, and overall quality of films, the first portion of the list revealed how some of Hollywood’s earliest ventures struggle to hold up all these years later. Welcome to Part Two of our countdown of the greatest Best Picture winners of all time! In Part One, we delved into the assorted range of films that have won this coveted prize through the 95 years of Oscar. Download: 95 Years of Oscars: Ranking The Best Picture Winners Part Two - #75-51
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