12 Movies That Won Best Picture Oscars With No Acting Nominations

Directors Steven Bognar and Julia Reichert adopted an old-college, cinéma verité–type approach to the film, which gives the viewer a fly-on-the-wall perspective as American staff try to adapt to the ongoing challenges that a really international economy brings. Syrian director Waad al-Kateab spent five years in Aleppo as part of the uprising opposing President Bashar al-Assad. During that point she labored at a hospital that handled civilians injured in bombing raids. The resulting film, nominated for Best Documentary Feature, is constructed as a letter to her young youngster—a poignant doc exploring the unimaginable choice she had to make between defending her daughter and continuing the struggle for freedom.

A landscape of suffering and cruelty permeates the film, and that’s the place its power lies. How important and highly effective was the unique All Quiet on the Western Front? Joseph Goebbels ordered his Brownshirts to set off stink bombs and mice in theaters exhibiting the film. The movie isn’t essentially all that cinematically unconventional, however it still packs a punch right now … and even appears all of the more newly related.

It’s exhausting now to elucidate what a big deal Titanic was — the way it seemed doomed to failure after which, inexplicably, turned a global sensation, as if Cameron single-handedly willed its greatness into existence. The movie exposed Cameron’s weaknesses as a screenwriter — ouf, a few of that dialogue — while endlessly burnishing his reputation as a master of massive-display screen drama. As weird as it is that that is the Alfred Hitchcock movie that gained Best Picture, it’s still an excellent example of traditional Hollywood sheen, a terrific story terrifically told … even when its teller would go on to do far better (and fewer Oscar-y) issues.

“Let It Go” triumphed on this category seven years ago, but can the brand new Idina Menzel energy ballad from “Frozen 2” win the same Oscar? It will face sturdy competitors from Elton John’s end-credits “Rocketman” song, sung with the movie’s star, Taron Egerton.

The South Korean comedy thriller “Parasite” made history, changing into the first international-language film to win finest picture. It additionally took house the awards for greatest original screenplay and worldwide characteristic movie, while Bong Joon Ho gained finest directing. Martin Scorsese’s mob epic “The Irishman,” Quentin Tarantino’s ode to Los Angeles “Once Upon a Time in Hollywood” and Sam Mendes’ war drama “1917” adopted shut behind with 10 nods a piece. Those films, along with “Ford v Ferrari,” “Jojo Rabbit,” “Little Women,” “Marriage Story” and “Parasite” will compete for best image.

Their duet, “(I’m Gonna) Love Me Again,” has already won the Golden Globe, and the snub of “Frozen 2” in the animated-film category suggests that voters aren’t wanting to rubber-stamp a retread. Tarantino has received the original-screenplay Oscar twice before, so he can’t be counted out here. Still, the trail to greatest image almost always goes through one of the screenplay categories, and “Once Upon a Time … in Hollywood” has misplaced much of its momentum for the highest award. The best-picture entrance-runner “1917” might be too sparse a screenplay to win in this class, so I expect the win will go to twisty “Parasite,” the night time’s different huge contender for the top Oscar. Our expert has been intently tracking the awards races all season.

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Ranking Coen brothers movies is a fraught train on its own, but for this listing, we’ll respectfully counsel that No Country for Old Men is a movie for folks who don’t necessarily love Joel and Ethan’s work. For superfans, who’re in all probability drawn to considered one of their extra obscure or odd films, this adaptation of the Cormac McCarthy novel has always felt like a really good however considerably familiar riff on past Coen themes. No Country for Old Men was the Coens marshaling their forces to do what they do finest, crafting arguably their most unnerving monster in Javier Bardem’s Anton Chigurh. A new era’s Gone With the Wind, Titanic is as mighty and unwieldy as the boat it’s named after. Here lies the story of Jack (Leonardo DiCaprio) and Rose (Kate Winslet), mismatched younger people on a date with future, dreamed up by James Cameron, a filmmaker more associated with good motion movies than epic tragic romances.

Filmmaker Joseph L. Mankiewicz once described his motion pictures as “a continuing comment on the manners and mores of latest society in general and the male-feminine relationship specifically.” Which meant they were also darkly, piercingly funny. A takedown of ego, theater, actors, writers, vanity, and other lethal sins, All About Eve places the dagger in with such class — after which does it many times. The film that finally ended the debate regarding whether or not Steven Spielberg might make “critical” motion pictures, Schindler’s List found the world’s most beloved director confronting evil in a extra concrete way than he ever had earlier than — not even in The Color Purple or Empire of the Sun. Using handheld cameras and eschewing the swooping pictures that outlined his profession, Spielberg gave us a Holocaust stuffed with ugliness and chaos, of common folks was monsters. Liam Neeson’s Oskar Schindler isn’t a fascinatingly advanced character — he’s not so much unknowable as he is a bit impenetrable — but Schindler’s List doesn’t really want a protagonist.

In the annals of Hitchcock history, this is in all probability most notable for being his first foray into Hollywood filmmaking. The classes he realized from it led to the greatest of careers … and it somehow started with an Oscar. No, actually, there as soon as was a time when Oliver Stone’s movies weren’t so aggressively anxious and frothing that they couldn’t be quietly devastating. Platoon was ripped from his experiences in Vietnam, providing a grunt’s-eye perspective on warfare that the Nineteen Seventies titans like The Deer Hunter and Apocalypse Now didn’t quite match. Charlie Sheen plays a soldier whose loyalty is split between Tom Berenger’s caustic Barnes and Willem Dafoe’s kindly Elias.