Mary Maitlin, or whoever the deaf actress was who won for Children of a Lesser God. No range whatever to her performance, just angry deaf girl, and her co-star did all her lines for her.
And Gladiator for Best Picture? Please.
Regards,
Shodan
Shrek winning the Best Animated Movie Oscar over Monsters Inc. Not that I didn’t enjoy Shrek, but it’s obvious it won’t hold its appeal the way Monsters Inc. will in ten years, much less fifty.
What he said.
Celine Dion’s awful, Bombastic “My heart will go on” beating out Elliot Smith’s (RIP 
)poignant and beautiful “Miss Misery” for best song. I have never watched the Oscars since.
Dont know have you heard the song elsewhere and are basing your opinion on that, but Annie Lennox didnt do a very good job of performing at the Oscars… Its one of my favourite songs recently and while I thought the CD version of the song was very good, (arent they always?), she wasnt that night.
Oliver! over 2001: A Space Oddessey for Best Picture in 1968
Give her credit. Even though she was gracious when she accepted the award, it was apparent from her speech that she thought that her brief role didn’t deserve it.
How on earth was the script anything short of terrific?
I again notice that most people equate SCREENWRITING, or a screenplay, with WRITING DIALOGUE, or the dialogue itself. So “Lost in Translation,” which used dialogue very sparingly, is said to be a poor script; “Shakespeare in Love,” which had elegant and intellectual dialogue, is claimed to have been the best script of the last 20 years. SiL was a great movie though… I guess a better counterexample would be David Mamet, who is said to be a good screenwriter because of his clever and realistic dialogue, even though a lot of his scripts are actually quite horrible.
Dialogue is a small part of screenwriting. Screenwriting is more about planning out the sequence of events and scenes in a way that conveys a story. A good movie should be able to get 90% of the story across if the sound’s off and you can’t read lips; that’s what sets a good screenwriter apart from a bad one.
I thought the writing of “Lost in Translation” was just tremendous. A screenwriter has to know when to make the characters shut up.
Arggh. You are correct, Mel is his son, IIRC.
But he was extremely stiff and unworthy of an Oscar in that film. Then there were the rubber pikes. Grrr.
- Oliver! wins Best Picture over 2001. 'nuff said.
No one’s mentioned Marisa Tomei yet?
Yes, they have.
There’s also 1942 where the insufferable Mrs. Miniver beat such clearly better movies as Yankee Doodle Dandy and The Magnificent Ambersons.
Oh yes, sometimes I can be too brief. She had made a number of statements from the time of her nomination that indicated she was embarrassed by the situation.
Hey, finally hit 200 posts. Burning up the Interweb at 40 posts per year!
Unca Stuart, you should get some sort of prize.
To be fair, you were pipped on the nomination of “2001”. 
I’ve always stuck to the opinion that Judi Dench’s nomination and win for Shakespeare In Love were intended to make up for her Best Actress loss to Helen Hunt the year before. Her Victoria in Mrs. Brown was a less notable performance than whatever the hell Helen Hunt was doing in As Good As It Gets? My ass.
No, José and Mel were unrelated. José Ferrer’s son (by Rosemary Clooney) is actor Miguel Ferrer of the TV series LateLine and Crossing Jordan.
Cite.
No he didn’t. He edited. Just like every other filmmaker does. Do you want me to explain editing to you?
Read the Academy’s guidelines for what a Documentary is. Bowling For Columbine falls easily within these bounds. There is absolutely no question that the film was a documentary (unless you’re one of those nutty right wing “take his Oscar off him because he dissed Bush” whingers).