I was actually referring to the 2004 version, starring Britney Spears in the title role and Justin Timberlake as Marc Antony.
JohnBckWLD, you forgot that 1999 Shakespeare adaptation, A Midsummer Night’s Cream.
Much to high brow for my tastes…but I have to admit I did enjoy Coriolingus
The Iron Giant, dammit.
Evil Dead 2 
Anything by John Sayles (another poster mentioned Lone Star). Let me just add:
Men with Guns (1997)
Here’s the imdb listing:
http://us.imdb.com/Title?0119657
I can’t tell you how much I love this movie!
Well, maybe not anything** by John Sayles (Limbo** was kinda weak, for example), but I’ll agree that he is a seriously underappreciated film maker. Check the record: Lone Star, Men with Guns, The Secret of Roan Inish, Matewan, Eight Men Out, Brother from Another Planet…
And yes, Men with Guns deserved a whole lot more attention than it received.
Irrational? Who’s irrational? I’ll show you irrational! Where’s my damn louisville slugger?
Don’t pull the trigger on that collective pronoun too quick. YOU may be willing to own this piece of tripe, but others may not. Yes, DeNiro turned in a great performance as Capone, but what else would you expect? He’s had a bit of practice as a gangtser. Was it Oscar material? No way.
Kevin Costner, sir, is no Gary Cooper. Anyway, I wasn’t commenting on the birch-like quality of his performance (but thanks for pointing that out. “Is it a bush? Is it a tree? No! It’s Kevin Costner!” ) Rather, I was referring to the fact that he was a whiny, mewling bowl of vanilla pudding compared to everybody else, including the accountant. The guy was simply egregiously miscast. Imagine somebody, anybody else in that role, and it works better: Mel Gibson, Harrison Ford, Bruce Willis, hell, Arnold would have been a better choice. Well, okay, maybe not Arnold, but certainly Denzel Washington, Samuel L. Jackson or Laurence Fishburne would have been far better, if the American audience could have gotten over certain trifling details.
Yeah, sure, and as long as they were going to fictionalize it to such a degree, why not use one of my last three suggestions for the lead?
Absolutely! Well, not FA, but the other two were far better films.
Pardon me, Yondan, but it seems like your criticism of The Untouchables boils down to: “I don’t like Kevin Costner.”
I don’t necessarily disagree with that sentiment in general, but I don’t think Costner’s presence in this particular film prevented it from being fully worthy of an Oscar nomination.
Now if he had tried out one of his fake accents…
Actually, I liked him in some other films: Bull Durham, Silverado, Waterworld.
And I suppose that KC’s presence ought not to disqualify a film from Oscar consideraton, except for the teensy fact that he was the lead, and as such embodied the whole premise of the film.
Really, I agree with much of the list you posted of films produced that year that unbelievably did not get an Oscar nod, let alone the little gold nekkid guy hisself.
Full Metal Jacket
Au Revoir, Les Enfants
Radio Days
Empire of the Sun
Raising Arizona
I just don’t see how you can put TU’s in this list.
Michael Mann’s masterpiece, Heat, from 1995.
Life As A House was an incredible movie and I can’t believe it wasn’t nominated this year. It had all the emotional schlock of “A Beautiful Mind” and “In the Bedroom” but the drama was much more tastefully done, and the storyline was wonderfully original. I think Hayden Christensen and Kevin Kline deserved nods for Best Supporting Actor and Best Actor, respectively.
Oh well, if it weren’t for the T&A and couture gowns, 99% of the American public wouldn’t watch, so I don’t have much faith in Oscar.
The Exorcist was nominated for 10 awards in 1973, the same number as the eventual B. Picture winner The Sting. The other nominees were Cries and Whispers, American Graffiti, and A Touch of Class. Other B. Picture worthy nominees in 1973 include Badlands and Mean Streets.
Frankly, I think that you could’ve thrown away the interminably boring The Cider House Rules and put in the wonderfully inventive Election in 1999.
In chronological order:
The Crowd (Vidor)
The Wind* (Sjostrom)
Steamboat Bill, Jr.* (Keaton)
Love Me Tonight* (Mamoulian)
Trouble in Paradise* (Lubitsch)
Footlight Parade* (Bacon)
Man’s Castle* (Borzage)
Queen Christina* (Mamoulian)
The Scarlet Empress* (von Sternberg)
It’s a Gift* (McLeod)
A Night at the Opera* (Wood)
Only Angels Have Wings (Hawks)
His Girl Friday* (Hawks)
Pinocchio (Sharpsteen/Luske)
The Shop Around the Corner* (Lubitsch)
The Thief of Bagdad (Powell/Whelan/Berger)
The Lady Eve (Sturges)
Cat People* (Tourneur)
To Be or Not To Be (Lubitsch)
Shadow of a Doubt (Hitchcock)
The Life and Death of Colonel Blimp* (Powell/Pressburger)
Meet Me in St. Louis (Minnelli)
The Miracle of Morgan’s Creek (Sturges)
Scarlet Street* (Lang)
My Darling Clementine* (Ford)
The Big Sleep* (Hawks)
Out of the Past* (Tourneur)
Force of Evil* (Polonsky)
Intruder in the Dust* (Brown)
Kind Hearts and Coronets* (Hamer)
Criss Cross* (Siodmak)
White Heat (Walsh)
Gun Crazy* (Lewis)
On Dangerous Ground* (Ray)
The Band Wagon (Minnelli)
All That Heaven Allows (Sirk)
Kiss Me Deadly* (Aldrich)
The Man from Laramie* (Mann)
Invasion of the Body Snatchers* (Siegel)
Written on the Wind (Sirk)
The Tarnished Angels* (Sirk)
Men in War* (Mann)
The Incredible Shrinking Man* (Arnold)
Rio Bravo* (Hawks)
North by Northwest (Hitchcock)
Ride the High Country* (Peckinpah)
The Naked Kiss* (Fuller)
Chimes at Midnight* (Welles)
Point Blank* (Boorman)
Faces (Cassevetes)
The Wild Bunch (Peckinpah)
Kes* (Loach)
Walkabout* (Roeg)
McCabe & Mrs. Miller (Altman)
The Man Who Would Be King (Huston)
Dawn of the Dead* (Romero)
Local Hero* (Forsyth)
The King of Comedy* (Scorsese)
The Terminator* (Cameron)
Pee-Wee’s Big Adventure* (Burton)
Salvador (Stone)
Dead Ringers* (Cronenberg)
The Unbearable Lightness of Being (Kaufman)
Crimes and Misdemeanors (Allen)
Miller’s Crossing* (Coen)
Simple Men* (Hartley)
The Last of the Mohicans (Mann)
Fresh* (Yakin)
Dead Man* (Jarmusch)
Smoke* (Wang)
Lone Star (Sayles)
The Sweet Hereafter (Egoyan)
Topsy-Turvy (Leigh)
The Straight Story (Lynch)
Mulholland Drive (Lynch)
I’ve kept these to English-language only (a foreign list would be twice as long). Films marked with (*) recieved ZERO Oscar nominations