The Academy Awards have long been celebrated as a glamorous event, a spectacle that delights viewers—unless, of course, you’re one of those who can’t help but criticize it as “boring” while glued to the screen each year. Personally, I relish every moment of the show. However, it’s important to recognize that the Oscars have never truly been the epitome of “cool.” Historically, they’ve been a bit too flashy, overly starstruck, and unapologetically mainstream.
Yet, as I reflect on the nominations for the 87th Academy Awards, it’s apparent that the landscape is shifting. This year’s nominees are dominated by films that are artistic, unconventional, and often smaller in scale—many of which have garnered critical acclaim but struggled at the box office. Back in the late ’70s and ’80s, the Oscars were perceived with a lighter touch; the definition of an “Oscar-worthy” film was heavily influenced by commercial success. Generally, Best Picture winners were crowd-pleasers, embodying the very essence of Hollywood’s mission to create popular entertainment. If a film didn’t resonate with the masses, it simply didn’t stand a chance.
Fast forward to today, and the mega-budget blockbusters, sequels, and franchise films that typically dominate the cinematic landscape seem to have been sidelined by the Academy. The choice of the final installment of the Lord of the Rings trilogy as Best Picture in 2003 was intended to elevate fantasy films, yet the opposite appears to have occurred; such films seem almost excluded from consideration now.
This year’s Best Picture nominations resemble those typically seen at the Independent Spirit Awards, featuring titles like The Grand Budapest Hotel, a whimsical caper that marks my personal favorite among Wes Anderson’s works, and Birdman, a bold narrative about a faded actor’s attempts to reclaim his artistic credibility. Despite the high praise, it’s surprising to note that Birdman grossed only $26 million, significantly less than the weekend earnings of Taken 3. Other nominees, such as Whiplash, The Theory of Everything, and Boyhood, are all noteworthy in their unique storytelling but similarly lack commercial success.
It’s interesting to observe the two nominees that still fit the traditional Oscar mold. Selma, a poignant biopic about Martin Luther King Jr., faced criticism and was underrepresented this year, while American Sniper, a highly patriotic depiction of the Iraq War, stands out as a more mainstream choice—nominated largely due to Clint Eastwood’s respected status in the industry.
The Oscars remain Hollywood’s ultimate self-promotion, yet the dynamics within the Academy have evolved. The older voting bloc that once dominated the Academy is gradually being replaced by a younger, more diverse group of members, primarily from Generation X. These voters seem less interested in the typical markers of commercial success and more attuned to valuing authenticity, audacity, and indie cred—resulting in a significant departure from the traditional “Oscar film” criteria.
The trend began during the Harvey Weinstein era but reached a critical point with The Hurt Locker winning Best Picture in 2008, a film that, while critically lauded, performed dismally at the box office. This set a new precedent: a Best Picture winner no longer needed to be a commercial success. We now see a broader acceptance of unconventional films, evidenced by the nomination of Beasts of the Southern Wild in 2012—a clear signal that the Oscars were evolving.
If we were to compare this year’s nominations to those from two decades ago, I suspect we would see Unbroken and Into the Woods receiving multiple nods, along with Gone Girl, which resonated with audiences and critics alike. Foxcatcher might have also been overlooked in this alternate Oscar universe, as its commercial performance would likely have deemed it unworthy of consideration.
As someone who has championed independent cinema for over 25 years, I should be thrilled with the Academy’s new direction. Yet, I find myself grappling with a sense of cynicism. There should be no rigid formula for recognizing great films—neither a commercial standard nor an anti-commercial one. The current landscape suggests that if someone were to suggest Guardians of the Galaxy as a nominee, they’d likely be met with ridicule. Yet, I personally believe it rivals the best of this year’s nominees, and perhaps even surpasses them.
In conclusion, while the evolution of the Oscars reflects a broader acceptance of diverse storytelling, it’s crucial to maintain an open-minded approach to all forms of cinema. For further insights on independent film and home insemination, check out this article and consider visiting Kindbody for additional resources on pregnancy and home insemination. For those looking to explore at-home options, Make a Mom offers reputable syringe kits for insemination.
Leave a Reply