All-Time Top Films for Deep Culture Impact

Part four in series: The Oscar “Huh?!” Factor: Why Academy Voters Usually Pick the Wrong Film

Two decades of using film in the classroom has resulted in quite a few surprises in the stories with the deepest cultural impact on this generation.

by Gary David Stratton • Senior Editor

The list below is in no way infallible, but it sure could get a good Oscar weekend conversation going.  (See Deep Culture Impact Films for the ever-evolving DCI criteria.)

Key

Action/Adventure/Western

Comedy/Musical/Animated

Drama

Fantasy/SciFi

Thriller/Horror

* Indicates Academy Award Winner

url-51933  King Kong (F)

1936  Modern Times (C)

1937  Snow White And The Seven Dwarfs (C)

1939  The Wizard of Oz (F)

1939  Mr. Smith Goes to Washington (D)

1939  Gone with the Wind (D)*

1940 Fantasia (C)

1941  Citizen Kane (D)

1943  Casablanca (D)*

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1946  It’s a Wonderful Life (D)

1951  The African Queen (D)

1952  Singin’ In The Rain (C)

1954  Rear Window (T)

1954  On the Waterfront (D)*

1955  Rebel Without a Cause (D)

1954  Seven Samurai (D)

1956  The Ten Commandments (D)

1957  The Bridge on the River Kwai (D)*

20121210051712!Sleeping_beauty_disney1957  12 Angry Men (D)

1958  Vertigo (T)

1959  Ben-Hur (A)*

1959  Sleeping Beauty (C)

1960  Psycho (T)

1961  West Side Story (C)*

1961  101 Dalmatians (C)

1961  Breakfast at Tiffany’s (D)

1962  To Kill a Mockingbird (D)

Screen shot 2013-02-23 at 6.03.20 PM

1962  Lawrence of Arabia (D)*

1964  Mary Poppins (C)

1964  My Fair Lady (C)*

1964  Dr. Strangelove (C)

1964 Goldfinger (A) and the entire Bond franchise, especially 1965 Thunderball (A) and 2006  Casino Royale (A)

1965  The Sound of Music (C)*

1966 The Good, the Bad, and the Ugly (D)

1967  Guess Who’s Coming to Dinner (D)

1967  The Graduate (D)

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1967  The Jungle Book (C)

1968  2001: A Space Odyssey (F)

1969  In the Heat of the Night (D)*

1969  Butch Cassidy and the Sundance Kid (A)

1971  Fiddler on the Roof (C)

1972  The Godfather (D) and 1974 The Godfather 2 (D)

1973  The Exorcist (T)

1973  The Sting (C)*

1973  American Graffiti (D)

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1974  Chinatown (D)*

1975  One Flew Over the Cuckoo’s Nest (D)*

1975  Jaws (F)

1976  Monty Python and the Holy Grail (C)

1976  Rocky (D),* as well as 2006 Rocky Balboa (D) and 2015 Creed (D)

1976  Taxi Driver (D)

1977  Star Wars: A New Hope (F) and 1980 The Empire Strikes Back (F)

1977  Annie Hall (C)*

raiders_of_the_lost_ark_ver1_xlg1978  National Lampoon’s Animal House (C)

1979  Apocalypse Now (D)

1979  Alien (F) and even better 1986 Aliens (F)

1980  Raging Bull (D)

1981  Raiders of the Lost Ark (A) and 1989 Indiana Jones and the Last Crusade (A)

1981  Chariots of Fire (D)*

1982  Blade Runner (T)

1982  Tootsie (C)

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1982  E. T. The Extra-Terrestrial (F)

1984  Amadeus (D)*

1984  Beverly Hills Cop (C)

1984  Ghostbusters (C)

1985 The Breakfast Club (D)

1985  Back to the Future (C)

1985  The Color Purple (D)

1986  Top Gun (A)

1986  Star Trek IV: The Voyage Home (F)  The best of the highly influential franchise… so far. (J.J. Abrams could change that.)

schindlers_list

1986  Ferris Bueller’s Day Off  (C)

1987  The Princess Bride (C)

1988  Rain Man (D)*

1989  Dead Poets Society (D)

1989  Field of Dreams (F)

1989  Do the Right Thing (D)

1989  Driving Miss Daisy (D)*

1990  Dances with Wolves (D)*

1990  Pretty Woman (D)

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1991  Terminator 2: Judgment Day (F)

1991  Beauty and the Beast (F)

1991  The Silence of the Lambs (D)*

1992  A Few Good Men (D)

1992  Unforgiven (A)*

1993  Groundhog Day (C)

1993  Jurassic Park (F)

1993  Schindler’s List (D)*

1994  Forrest Gump (D)*

Screenshot 2014-03-02 23.59.401994  Pulp Fiction (D)

1994  Shawshank Redemption (D)

1994  The Lion King (C)

1995  Braveheart (A)*

1995 The Usual Suspects (D)

1995  Toy Story (C) and the entire Toy Story trilogy.

1996  Jerry Maguire (D)

1996  Fargo (D)

1998  Saving Private Ryan (A)

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1996  Independence Day (T)

1997  Men in Black (C)

1997  Good Will Hunting (D)

1997  Titanic (D)*

1998  American History X  (D)

1999  American Beauty (D)*

1999  Fight Club (A)

1999  The Matrix (F)

1999  The Sixth Sense (T)

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2000  Gladiator (A)*

2000 Memento (D)

2001  Shrek (C) and the entire Shrek franchise.

2001  Harry Potter and the Sorcerer’s Stone (F) and the entire Harry Potter series.

2001 Serendipity (C)

2003 The Return of the King (F)* and the rest of The Lord of the Rings Trilogy: 2001 The Fellowship of the Ring (F) and especially 2002 The Two Towers (F).

2003  Finding Nemo (C)

2003  Pirates of the Caribbean: The Curse of the Black Pearl  (A) at least as part of the entire Pirates franchise.

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2004  Spider-Man 2 (F), the entire Spider-Man Trilogy and even the new franchise starting with 2012 The Amazing Spider-Man (F) series.

2004  The Passion of the Christ (D)

2004  Eternal Sunshine of the Spotless Mind (F)

2008  The Dark Knight (F) and the entire Dark Knight trilogy is definitely going to make the DCI list.

 

Films on the Deeper Culture Impact ‘watch list’

I suspect many of these movies will prove to be DCI films, but it is still too early to tell. 

2005  Crash (D)*

2006  The Departed (D)*

2012  The Avengers (F) and the entire Marvel Avengers franchise, especially 2008 IronScreen shot 2013-02-24 at 12.58.13 PM
Man (F), 2013 Iron Man 3 (F), and 2011 Thor (F)

2007  No Country for Old Men (D)*

2007  Juno (D)

2008  Slumdog Millionaire (D)*

2009  The Hangover (C)

2009  Avatar (F)

2009  The Blind Side (D)

2010 Inception (F)

2011 The Help (D)

2012 Django Unchained (D)12YAS-Poster-Art

2012 Life of Pi (F)

2012 The Hunger Games (F), and and most likely the entire Hunger Games series.

2013 12 Years a Slave (D)*

2013 Frozen (F)

2013 American Hustle (D)

2013 Gravity (D)

2014 American Sniper (D)

2014 Selma (D)

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2014 The Imitation Game (D)

2014 Guardians of the Galaxy (F)

2015 Spotlight (D)*

2015 Inside Out (A)

2016 Zootopia (A)

2016 La La Land (M)

2016 Arrival (F)

* Indicates Academy Award Winner

 

What films did I miss?

Why are ‘Deep Culture Impact’ Films so Rare?

Part three in series: The Oscar “Huh?!” Factor: Why Academy Voters Usually Pick the Wrong Film

In the past 40 years only three Academy Award-winning films managed to break into the coveted top 60 all-time box office earners. 

by Gary David Stratton, PhD • Senior Editor

ET is one of only 9 films on the AFI Top 100 list to crack the top 65 all-time box office hits

A century of motion picture production has generated a remarkably small cannon of films that have achieved true ‘Deep Culture’ Impact.  The odds against making a true “double-bottom-line” film–Critical Acclaim and, Popular Appeal–are nearly astronomical.

Never Tell Me the Odds!

At any given moment there are over 100,000 screenplays being shopped around Hollywood. These are the ones agents deem worthy of representing. The total number of completed screenplays is much higher.

Of these 100,000+ screenplays, less than 5,000 per year are actually produced as independent films. These are the films vying for notice at Sundance, Cannes, Tribecca, Toronto, and other film festivals for major Studio purchase and hopefully distribution. They join a handful of Studio-produced films that are all but assured to end up on screen.

Of these 5,000+ films, less than 250 actually end up in national theatrical release each year, and another 250 or so distributed for limited release.  That means that less than 500 films per year make it to the local cinemaplex and/or art house theater.

The 2012 Best Picture winner garnered less than $45 million in domestic box office, normally not nearly enough for a deep culture impact
The 2012 Best Picture winner garnered less than $45 million in domestic box office, normally not nearly enough for a deep culture impact

Of these 500 films, only 10 to 15 garner enough critical acclaim for Oscar consideration in the “Best Picture” [1] and/or “Best Writing” categories (original or adapted screenplay.)

If you’re keeping score, that means that a screenwriter who manages to get an agent to represent their passion project has less than .02% chance of their movie even being  nominated for an Academy Award.  An indie producer who manages to achieve film lock has less than .075% chance of nomination. And that doesn’t even guarantee their the film will be profitable.

Of the 10 to 15 Academy Award-nominated films, many never reach the threshold of box office respectability requisite for broad “popular appeal.” For instance, 2012 Best Picture winner, The Artist, garnered less than $45 million in domestic box office, and 2010 winner, The Hurt Locker only $17 million. They may be great films, but not enough people will ever see them for the movie to have much of a cultural impact (although the rise of Netflix and other streaming services is changing that formula.) A film financier recently told me that their entertainment lawyer suggested that they would have a better chance of turning a profit if they purchased $10 million in lottery tickets.

Elite Company

Return of the King is one of only three post-1980 Academy Award winners to break into the 50 all time top grossing films

No wonder only THREE Academy Award-winning films have managed to break into the coveted top 60 all-time box office earners (adjusted for inflation) in the past 40 years.

Forrest Gump (1994)

Titanic (1997)

The Return of the King (2003)

These films are the type of rare gems I seek for use in teaching my students. They not only constitute what makes for a truly great film, they also help my students discover the stories that have most deeply shaped their lives. When combined with films like the nine in yesterday’s post, they form the foundation of a very rare canon of films to achieve deep cultural impact.

Could any of this year’s nominees join this elite company? Perhaps. Only time will tell, which measure is better for finding a ‘deep culture’ impact film: the 6000+ academy voters, or the test of time.

.

Next: 100+ All-Time Top ‘Deep Culture Impact’ Films


[1] In 2011 the Academy expanded Best Picture Nominees from 5 to as many as 10.

 

High Culture? Pop Culture? Shouldn’t a Great Film Impact DEEP Culture?

Part two in series: The Oscar “Huh?!” Factor: Why Academy Voters Usually Pick the Wrong Film

The root-level memes underlying our worldview are so subtle and pervasive we are often deeply impacted by the stories found in films we have barely even watched.

by Gary David Stratton, Ph.D. • Senior Editor

2010 Oscar winner ‘Hurt Locker’ won critical acclaim, but with a paltry $17M domestic box office, never attracted a broad enough audience for ‘deep culture’ impact

The criteria used by Academy voters to decide their choice for “Best Picture” remains a complete mystery to the viewing public. Is it Story? Acting? Directing? Artistic merit? Political perspective? Personal taste? Who knows? No two years are the same, and no doubt this year could be a surprise as well.

Since there are no objective standards for art, each year is fraught with controversy and the kind of unwinnable arguments that make for great public interest.

However, as a college professor who selects films for use in teaching philosophy and spirituality, I am looking for something more specific. I want to know if a given film is likely to be one of the “stories my students live by.” (See, Casablanca and the Four Levels of Worldview). Since people don’t always “choose” the stories that shape them, just asking students to name their favorite movies can be very deceptive. In fact, the root-level stories that form the foundation of our worldview (or our culture’s) can be so subtle and pervasive, students can be deeply impacted by the stories and/or memes in films they have never even watched. (See, Crash Goes the Worldview.)

After a great deal of thought, I’ve decided that what I am really looking for is films that have achieved what I refer to as “deep culture” impact upon a generation. (As opposed to “Pop” culture or “High” culture.) Granted, this too can be a very subjective call. Measuring “impact” is one of the trickiest problems in modern historiography. Yet, sheer necessity has led me to developed my own informal (and often intuitive) system for finding worldview-shaping films.

One helpful (but fallible) way to estimate deep culture impact is to look for films that have achieved success what at what Hollywood sometimes calls the “double bottom-line.” Films that have:1) Celebrated Critical Acclaim, and 2) Broad Popular Appeal. It may be simplistic, but for the most part, I use these categories when considering a film for use with students: (See chart below.)

Category

A: Critical Acclaim = “High” Culture Impact

B: Broad Appeal = “Pop” Culture Impact

C: Critical Acclaim + Broad Appeal = “Deep Culture” Impact

 

A #27 ranking on the WGA list of all-time best screenplays tipped me off to its possible culture making power

Category A – Critical Acclaim

In determining whether or not a film has achieved critical acclaim I look for:

1) an Academy Award win or nomination for a Best Picture, and/or an Oscar win for Best Original Screenplay or Adapted Screenplay,

2) a place on the American Film Institute (AFI) 100 Greatest American Movies of All Time; and/or

3) selection to the Writers’ Guild of America’s (WGA) 101 Greatest Screenplays.

I often find unexpected worldview gems in these lists. For instance, I might have missed the culture-making power of Groundhog Day (1993) if not for its #27 ranking on the WGA list of all-time best screenplays.

The same goes for underachieving box office comedy The Princess Bride (1987), a film that many students have memorized word for word.

Category B – Broad Appeal

Popularity doesn’t guarantee deep cultural impact, but it doesn’t hurt.

In determining if a film has broad appeal I look for at least one of the following:

1) a spot in the Top 100 all-time box office films,

2) a spot in the Top 100 grossing movies of all-time when adjusted for inflation; and/or,

3) a place on the Internet Movie Data Base’s (IMDB) Top 250 All-Time Films as voted by their readers.

Broad popular appeal can be a sign of deep culture impact even without critical acclaim. For instance, George Lucas and Stephen Spielberg’s only joint project–The Indiana Jones series–was an Oscar bust. Yet few would doubt the culture-making power of  Raiders of the Lost Ark (1981) and Indiana Jones and the Last Crusade (1989), and not surprisingly, each rank in the IMDB top 100.

Category C – Deep Culture Impact

While imperfect, my system seems somewhat vindicated when even Oscar snubs like Lucas’s culture-impacting powerhouse come out on top

Films that do well in all both critical acclaim and broad appeal fit my elusive Category C: films of deep cultural impact. For instance, Casablanca (1942) won the Oscar for both Best Picture and Adapted Screenplay, is #1 on the WGA list, #3 on the AFI Top 100, and voted #16 by IMDB readers. Star Wars (1977) failed to bring home a Best Picture or Original Screenplay Oscar, but took in the second highest box office of all time (adjusted for inflation), and is #15 on the AFI all-time great list.

Getting into Category C is no easy task. In the past 25 years only THREE Oscar winners have managed to crack the top 50 all-time box office hits. Care to guess who they are?  (I’ll reveal that answer tomorrow in Why ‘Deep Culture Impact’ Films are so Rare.)

Even more remarkable, only nine films have achieved both an AFI 100 top all-time ranking and a top 65 all-time box office adjusted for inflation (and only three of them won *Oscars):

*Gone With the Wind (1939)

Star Wars: Episode IV – A New Hope (1977)

E. T. The Extra-Terrestrial (1982)

Jaws (1975)

Snow White and the Seven Dwarfs (1937)

*Ben-Hur (1959)

The Graduate (1967)

Fantasia (1940)

*The Godfather (1972)

It would be hard to argue that any of these 9 films don’t belong among the small canon of motion pictures that have achieved “Deep Culture Impact” (DPI).

Of course, the system isn’t perfect.  While my 2011 pick for “Deep Culture Movie of the Year,” Inception seems solid–it didn’t win Best Picture yet it is currently ahead of all 2011 nominees in its IMDB rating (#12 All-Time!), my 2012 pick, The Help, is dropping fast in IMDB ratings without garnering a great deal of longterm critical acclaim. Which only emphasizes how important it is to wait at least twelve years before trying to measure a films DPI.

Still, by focusing on critically acclaimed films that also achieved broad popular appeal I am hoping to discover films that have most deeply impacted culture …and my students.

So why are they so hard to find?

Tomorrow: Why Films with ‘Deep Culture Impact’ are so Rare

 

100+ All-Time Top ‘Deep Culture Impact’ Films (2014)

Part four in 2014 Oscar Week Series: Twelve Years a Slave to History: Why Academy Voters Often Miss the Real Best Picture.

Two decades of using film in the classroom has resulted in quite a few surprises in the stories with the deepest cultural impact on this generation.

by Gary David Stratton, PhD • Senior Editor

The list below is in no way infallible, but it sure could get a good Oscar weekend conversation going.  (See Deep Culture Impact Films to view my evolving DCI criteria.)

Key: Action/Adventure/Western • Comedy/Musical/Animated • Drama • Fantasy/SciFi • Thriller/Horror

* Indicates Academy Award Winner  – @Indicates NEW for 2014

king-kong-poster1933  King Kong (F)

1936  Modern Times (C)

1937  Snow White And The Seven Dwarfs (C)

1939  The Wizard of Oz (F)

1939  Mr. Smith Goes to Washington (D)

1939  Gone with the Wind (D)*

1940 Fantasia (C)

1941  Citizen Kane (D)

1943  Casablanca (D)*

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1946  It’s a Wonderful Life (D)

1951  The African Queen (D)

1952  Singin’ In The Rain (C)

1954  Rear Window (T)

1954  On the Waterfront (D)*

1955  Rebel Without a Cause (D)

1954  Seven Samurai (D)@

1956  The Ten Commandments (D)

1957  The Bridge on the River Kwai (D)*

20121210051712!Sleeping_beauty_disney1957  12 Angry Men (D)

1958  Vertigo (T)

1959  Ben-Hur (A)*

1959  Sleeping Beauty (C)

1960  Psycho (T)

1961  West Side Story (C)*

1961  101 Dalmatians (C)

1961  Breakfast at Tiffany’s (D)

1962  To Kill a Mockingbird (D)

Screen shot 2013-02-23 at 6.03.20 PM

1962  Lawrence of Arabia (D)*

1964  Mary Poppins (C)

1964  My Fair Lady (C)*

1964  Dr. Strangelove (C)

1964 Goldfinger (A) and the entire Bond franchise, especially 1965 Thunderball (A) and 2006  Casino Royale (A)

1965  The Sound of Music (C)*

1966 The Good, the Bad, and the Ugly (D)

1967  Guess Who’s Coming to Dinner (D)

1967  The Graduate (D)

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1967  The Jungle Book (C)

1968  2001: A Space Odyssey (F)

1969  In the Heat of the Night (D)*

1969  Butch Cassidy and the Sundance Kid (A)

1971  Fiddler on the Roof (C)

1972  The Godfather (D)* and 1974 The Godfather 2 (D)*

1973  The Exorcist (T)

1973  The Sting (C)*

1973  American Graffiti (D)

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1974  Chinatown (D)*

1975  One Flew Over the Cuckoo’s Nest (D)*

1975  Jaws (F)

1976  Monty Python and the Holy Grail (C)

1976  Rocky (D)*

1976  Taxi Driver (D)

1977  Star Wars: A New Hope (F) and 1980 The Empire Strikes Back (F)

1977  Annie Hall (C)*

raiders_of_the_lost_ark_ver1_xlg1978  National Lampoon’s Animal House (C)

1979  Apocalypse Now (D)

1979  Alien (F) and 1986 Aliens (F)

1980  Raging Bull (D)

1981  Raiders of the Lost Ark (A) and 1989 Indiana Jones and the Last Crusade (A)

1981  Chariots of Fire (D)*

1982  Blade Runner (T)

1982  Tootsie (C)

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1982  E. T. The Extra-Terrestrial (F)

1984  Amadeus (D)*

1984  Beverly Hills Cop (C)

1984  Ghostbusters (C)

1985 The Breakfast Club (D)@

1985  Back to the Future (C)

1985  The Color Purple (D)

1986  Top Gun (A)

1986  Star Trek IV: The Voyage Home (F)  The best of the highly influential franchise… so far. (J.J. Abrams could change that.)

schindlers_list

1986  Ferris Bueller’s Day Off  (C)

1987  The Princess Bride (C)

1988  Rain Man (D)*

1989  Dead Poets Society (D)

1989  Field of Dreams (F)

1989  Do the Right Thing (D)

1989  Driving Miss Daisy (D)*

1990  Dances with Wolves (D)*

1990  Pretty Woman (D)

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1991  Terminator 2: Judgment Day (F)

1991  Beauty and the Beast (F)

1991  The Silence of the Lambs (D)*

1992  A Few Good Men (D)

1992  Unforgiven (A)*

1993  Groundhog Day (C)

1993  Jurassic Park (F)

1993  Schindler’s List (D)*

1994  Forrest Gump (D)*

Screenshot 2014-03-02 23.59.401994  Pulp Fiction (D)

1994  Shawshank Redemption (D)

1994  The Lion King (C)

1995  Braveheart (A)*

1995 The Usual Suspects (D) @

1995  Toy Story (C) and the entire Toy Story trilogy.

1996  Jerry Maguire (D)

1996  Fargo (D)

1998  Saving Private Ryan (A)

AmericanBeauty

1996  Independence Day (T)

1997  Men in Black (C)

1997  Good Will Hunting (D)

1997  Titanic (D)*

1998  American History X  (D)

1999  American Beauty (D)*

1999  Fight Club (A)

1999  The Matrix (F)

1999  The Sixth Sense (T)

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2000  Gladiator (A)*

2000 Memento (D)@

2001  Shrek (C) and the entire Shrek franchise.

2001  Harry Potter and the Sorcerer’s Stone (F) and the entire Harry Potter series.

2001 Serendipity (C)@

2003 The Return of the King (F)* and the rest of The Lord of the Rings Trilogy: 2001 The Fellowship of the Ring (F) and 2002 The Two Towers (F). (Okay, it’s only been 11 years since the last LOTR film, but I think it’s safe to say that Peter Jackson’s majestic adaptation of Tolkien’s classic will hit a very high DCI mark. )

 

Films on the Deeper Culture Impact ‘watch list’

Screen shot 2013-02-24 at 12.58.13 PMI suspect many of these films will grow into DCI films, but it is still too early to tell. After all, we have to wait at least twelve years!

2002  My Big Fat Greek Wedding (C)

2002  Spider-Man (F), the entire Spider-Man Trilogy and even the new franchise starting with 2012 The Amazing Spider-Man (F) series.

2003  Pirates of the Caribbean: The Curse of the Black Pearl  (A) at least as part of the entire Pirates franchise.

2003  Finding Nemo (C)

2004  The Passion of the Christ (D)

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2004  Eternal Sunshine of the Spotless Mind (F)2005  Crash (D)*

2005  The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (F) (The weakness of the other completed films in the franchise stands in the way of Chronicles (the movie) having the same high DCI as Lewis’s books.)

2006  The Departed (D)*

2007  No Country for Old Men (D)*

2007  Juno (D) (If the Juno Effect has cultural staying power this could end up being one of the top DCI films of all time.)

2008  The Dark Knight (F) and the entire Dark Knight trilogy is definitely going to make the DCI list.

Inception poster

2008  Slumdog Millionaire (D)*

2009  The Hangover (C)

2009  Avatar (F)

2009  The Blind Side (D)

2010 Scott Pilgrim vs. the World (C)@

2010  Inception (F)

2011  The Help (D)

2011 The Intouchables (D)@

2012  The Avengers (F) and the entire Marvel Avengers franchise, especially 2008 Iron Man (F), 2013 Iron Man 3 (F), 2011 Thor (F), and 2013 Thor II: The Dark World (F)

2012  The Hobbit: An Unexpected Journey and 2013 The Desolation of Smaug (F)

2012 Django Unchained (D)

2012 Life of Pi (F)

2012 The Hunger Games (F), 2013 The Hunger Games: Catching Fire and most likely the entire series.

 

 

Adult Films: Why Oscars Ignore Movies About Millennials, by John Hanlon

Youth-obsessed Academy oldsters give no respect to films about young characters 

SHORT TERM 12, THE SPECTACULAR NOW, and THE WAY, WAY BACK received as high or higher critical ratings than any of this year’s best picture nominees. So why weren’t any of them nominated?

By John Hanlon  CNN

short_term_twelve_ver4_xlgWhen people talk about the cinematic geniuses of the 1980s, one name invariably comes up — John Hughes. For young people growing up then and even today, the writer-director’s name conjures up memories of unforgettable films.

From “Sixteen Candles” (1984) and “The Breakfast Club” (1985) to “Pretty in Pink” (1986) and “Ferris Bueller’s Day Off” (1986), Hughes was responsible for a series of films that openly and honestly explored the exhilaration and tumultuousness of adolescence.

It’s been nearly three decades since those movies arrived in theaters, but audiences still watch and enjoy them as if they were made yesterday. However, despite the love audiences have shown for his work, Hughes was never nominated for an Academy Award.

Hughes isn’t alone in being an outstanding filmmaker whose features about people under 30 were overlooked during awards season. It’s unfortunate but undeniable that award shows — and the Oscars in particular — have a history of ignoring great movies made for and about young people.

In 2013 alone, several such films received raves from critics, earning spots on “best of” lists. “The Kings of Summer” and “The Way, Way Back” scored approval ratings of 76% and 85% of critics, respectively, on RottenTomatoes.com, while “The Spectacular Now,” written by the duo behind 2009’s underappreciated “(500) Days of Summer,” earned the approval of 92% of critics.

“Short Term 12” received a 99% approval on Rotten Tomatoes, a higher ranking than any of this year’s best picture nominees. “Spring Breakers,” starring James Franco and Selena Gomez, may have divided some moviegoers, but the film was also lauded for its provocative depiction of disaffected youth. And it’s not for nothing that “The Hunger Games: Catching Fire” was the top grossing film of 2013.

Yet not one of these movies earned a single Oscar nomination.

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Twelve Years a Slave to History: Why Academy Voters Often Miss the Real Best Picture

A college professor reveals the method behind his madness in NOT always choosing Academy Award-winning films when selecting the stories students live by for classroom use.  Part one in 2014 Oscar Week Series.

If history is any indicator, Brad Pitt and the TWELVE YEAR’S A SLAVE producing team will deliver their carefully prepared acceptance speeches Sunday night. Yet history also reveals that, when it comes to picking the film audiences will recognize as truly great twelve years from now, Oscar voters often miss the mark.

by Gary David Stratton • Senior Editor

When it comes to picking the film that will be viewed as truly great in TWELVE YEARS, Oscar voters often miss the mark. (Photo: Indiewire)
If recent history is any indicator ‘Twelve Years a Slave’ (Center) will beat ‘Gravity’, (upper left and continuing clockwise) ‘American Hustle’, ‘Dallas Buyers Club’, and ‘The Wolf of Wall Street.’ (Photo: Indiewire)

 

And the nominees are:

American Hustle [1]
Captain Phillips [2]
Dallas Buyers Club [3]
Gravity [4]
Her [5]
Nebraska [6]
Philomena [7]
12 Years a Slave [8]
The Wolf of Wall Street [9]

 

 

Sunday night tens of millions of viewers from nearly every nation on earth will tune in for the coronation of Hollywood’s “Best Picture” of the year.  Studios spend millions of dollars in countless screeners, screenings, billboards, interviews, Variety Ads, Twitter campaigns, blog attacks, and countless party conversations, seeking to sway the roughly 6,000 members of The Academy of Motion Picture Arts and Sciences voters to crown their film as King or Queen of the industry.

This year’s battle between expensive (and lucrative) visual special effects (VFX) driven Gravity and smaller (and less lucrative) historical period piece Twelve Years a Slave looks awfully familiar to the past three year’s battles between VFX-driven commercial hits Avatar, Hugo, and Life of Pi and smaller period pieces The Hurt Locker, The Artist, and Life of Pi and Argo. The historical films are riding a three-year winning streak, and there is little reason to believe this year will be any different. Everything points to Brad Pitt and the Twelve Year’s a Slave producing team giving their carefully prepared acceptance speeches Sunday night.

Mistakes of History

But do the Oscars always get it right? You wouldn’t think so looking at the award’s history. Arguments are legion. Nearly every year is controversial in one way or another. The truth is, many if not most Oscar winners simply don’t stand the test of time. For instance, there are few Academy voters today who would argue that Shakespeare in Love (1998) was anything close to a classic, yet it somehow managed to win over Stephen Spielberg’s WWII epic, Saving Private Ryan.  The 1968 musical Oliver was certainly endearing, but not nearly as enduring as 2001: A Space Odyssey. Why does such a careful and democratic  process often fail?  Here are a few reasons.

Politics as Usual

Many Oscar winners have “outside the film” appeal to voters that may not always be a genuine indicators of greatness. The Hurt Locker (2009) was a compelling film, but it is hard to imagine how voting might have gone if Katherine Bigelow had not been in a position to be the first female director to win top honors. (Or, if Avatar director, James Cameron–Katherine’s ex-husband–had not alienated many academy voters with his “I’m king of the world” Oscar acceptance speech for his 1998 Titanic win.) In fact, Katherine’s might have been more worthy of winning for last year’s Zero Dark Thirty, but other political factors led to actor/director Ben Affleck’s film Argo winning after he was snubbed in the nominations for best director.

Even more dramatic are the publicity efforts launched by studios and internet devotees in order to promote their films and sometimes smear their rivals.  2011 winner The King’s Speech had to overcome an alleged smear campaign launched by devotees of The Social Network that all but overshadowed the equally deserving Inception.

A Series of Unfortunate Timings

15 years later, it is hard to imagine how ‘Shakespeare in Love’ won over Spielberg’s WWII classic.

Some films are simply too far ahead of their times to even receive a nomination for Best Picture. Citizen Kane (1941) is near the top of most “All-Time Great Films” lists, but lost to the long forgotten How Green is My Valley. Hitchcock’s cutting-edge masterpiece Vertigo is still watched in film schools, while only the most die-hard fans ever watch 1958 winner Gigi. 1999 genre-bender The Matrix couldn’t even garner a Best Picture nomination, yet few doubt that it will be studied as a classic for years to come.

Other great films lose Oscars simply because they are up against other greats the same year.  Forrest Gump (1994) garnered a much-deserved Best Picture Oscar. Yet few would argue that it was unequivocally better than two other celebrated films in the same year: Quentin Tarantino’s groundbreaking  Pulp Fiction, and Shawshank Redemption (currently #1 on IMDB‘s greatest movies ever made.)

Sometimes a film’s novelty gives it a short-term popularity. The unique silent film aesthetics of 2012 winner The Artist helped give it the upper hand over more conventional films. Yet many purists point to the social importance of the civil rights movement portrayal of The Helpthe acting excellence of The Descendants, and/or the overall of craftmanship of Martin Scorsese’s Hugo (11 nominations) as more deserving.

The truth is, the public-relations-driven, artistically myopic, and sometime overtly political nature of Hollywood often make an Oscar a highly unreliable measure of long-term greatness.

How Shall We Then Choose?

The 2011 Picture of the Year had to overcome a smear campaign

What about this year? I am passionately committed to Twelve Years a Slave winning Best Picture, but is my judgment clouded by my passion? If the professionals don’t always get it right, what hope do we mere mortals have? Maybe not much. But over two decades of using film in the classroom has taught me that there might be a better way to predict which film will have true staying power. Although I started out using only Academy Award-winning films, I quickly realized that the Academy isn’t very good at selecting the stories my students live by. So I developed a new set of indicators for picking films that are not so much a slave to contemporary fashion and more in line with which films are still changing students’ lives TWELVE YEARS or more after their Academy Award campaign winds down.

 

Next: 

 


[1] Charles Roven, Richard Suckle, Megan Ellison and Jonathan Gordon, Producers

[2] Scott Rudin, Dana Brunetti and Michael De Luca, Producers

[3] Robbie Brenner and Rachel Winter, Producers

[4] Alfonso Cuarón and David Heyman, Producers

[5] Megan Ellison, Spike Jonze and Vincent Landay, Producers

[6] Albert Berger and Ron Yerxa, Producers

[7] Gabrielle Tana, Steve Coogan and Tracey Seaward, Producers

[8] Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueen and Anthony Katagas, Producers

[9] Nominees still undetermined

 

 

 

 

 

 

Oscar Fail: Is an Academy Award a Reliable Indicator of a Truly Great Film?

College professor Gary Stratton reveals the method behind his madness in Teaching Worldview Through the Academy Award-winning Film.  Part one in 2014 Oscar Week Series.

Academy voters will crown this year’s ‘Best Picture.’ But will anyone remember it in twenty years?

by Gary David Stratton • Senior Editor

Sunday's Academy Awards Show seeks to honor "truly great" films, yet history reveals that Oscar voters often miss the mark.
Sunday’s Academy Awards Show seeks to honor “truly great” films, yet history reveals that Oscar voters often miss the mark.

And the nominees are:

American Hustle[1]

Captain Phillips[2]

Dallas Buyers Club[3]

Gravity[4]

Her[5]

Nebraska[6]

Philomena[7]

12 Years a Slave[8]

The Wolf of Wall Street[9]

Sunday night tens of millions of viewers from nearly every nation on the planet will tune in for the coronation of Hollywood’s “Best Picture” of the year.  Studios have spent millions of dollars in countless screeners, screenings, billboards, interviews, Variety Ads, Twitter campaigns, blog attacks, and countless party conversations, seeking to sway the roughly 5,500 Academy of Motion Picture Arts and Sciences voters to crown their film as King or Queen of the industry.

But do the Oscars always get it right? You wouldn’t think so looking at the award’s history. Arguments are legion. Nearly every year is controversial in one way or another. In many cases, Academy voting turns out to be a major “Oscar Fail.”

Factors in ‘Oscar Fail’

Some Oscar winners are beloved in their day, but don’t stand the test of time. There are few Academy voters today who would argue that Shakespeare in Love (1998) was anything close to a classic, yet it somehow managed to win over Stephen Spielberg’s WWII epic, Saving Private Ryan.  The 1968 musical Oliver was certainly endearing, but not nearly as enduring as 2001: A Space Odyssey.

Other Oscar winners have “outside the film” appeal to voters that may not always be a genuine indicators of greatness. The Hurt Locker (2009) was a compelling film, but it is hard to imagine how voting might have gone if Katherine Bigelow had not been in a position to be the first female director to win top honors. (Or, if Avatar director, James Cameron–Katherine’s ex-husband–had not alienated many academy voters with his “I’m king of the world” Oscar acceptance speech for his 1998 Titanic win.) In fact, she might be more worthy of winning for this year’s Zero Dark Thirty, but that is unlikely now that she’s “already won” her statue.

15 years later, it is hard to imagine how ‘Shakespeare in Love’ won over Spielberg’s WWII classic.

Some films are simply too far ahead of their times to even receive a nomination for Best Picture. Citizen Kane (1941) is near the top of most “All-Time Great Films” lists, but lost to the long forgotten How Green is My Valley. Hitchcock’s cutting-edge masterpiece Vertigo is still watched in film schools, while only the most die-hard fans ever watch 1958 winner Gigi. 1999 genre-bender The Matrix couldn’t even garner a Best Picture nomination, yet few doubt that it will be studied as a classic for years to come.

Other great films lose Oscars simply because they are up against other greats in the same year.  Forrest Gump (1994) garnered a much-deserved Best Picture Oscar. Yet few would argue that it was unequivocally better than two other celebrated films in the same year: Quentin Tarantino’s groundbreaking  Pulp Fiction, and Shawshank Redemption (currently #1 on IMDB‘s greatest movies ever made.)

Sometimes a film’s novelty gives it a short-term popularity. The unique silent film aesthetics of last year’s winner The Artist helped give it the upper hand over more conventional films. Yet many purists point to the social importance of the civil rights movement portrayal of The Helpthe acting excellence of The Descendants, and/or the overall of craftmanship of Martin Scorsese’s Hugo (11 nominations) as more deserving criteria.

The 2011 Picture of the Year had to overcome a smear campaign

Even more dramatic are the publicity efforts launched by studios and internet devotees in order to promote their films and sometimes smear their rivals.  2011 winner The King’s Speech had to overcome an alleged smear campaign launched by devotees of The Social Network that all but overshadowed the equally deserving Inception.

How The Shall We Then Choose?

The truth is, the public-relations-driven, artistically myopic, and sometime overtly political nature of  Hollywood often make Oscars an unreliable measure of true greatness.

So… what of 2013? Many believe it is a two-horse race between Spielberg’s biopic of America’s greatest president (Lincoln) versus the cinematic adaptation of the world’s greatest musical (Les Miserable.)  But is it?  Could Ben Affleck’s sweep at this year’s SAG Awards indicate that his Oscar-snub for Best-Director  created a huge sympathy vote for Argo? Could the fact that Silver Linings Playbook is the first film in over three decades to garner Best Actor nominations in all four categories  factor into voter’s minds?

The truth is, no one knows!

If the professionals don’t always get it right, what hope do we mere mortals have? But that doesn’t mean we shouldn’t try. In fact, over a decade of using Academy Award-winning films to teach philosophy and theology have taught me that there might be a way to predict which film will have a ‘deep culture’ impact.

 

Next: High Culture? Pop Culture? Shouldn’t a Great Film Impact ‘DEEP CULTURE’?

 


[1] Charles Roven, Richard Suckle, Megan Ellison and Jonathan Gordon, Producers

[2] Scott Rudin, Dana Brunetti and Michael De Luca, Producers

[3] Robbie Brenner and Rachel Winter, Producers

[4] Alfonso Cuarón and David Heyman, Producers

[5] Megan Ellison, Spike Jonze and Vincent Landay, Producers

[6] Albert Berger and Ron Yerxa, Producers

[7] Gabrielle Tana, Steve Coogan and Tracey Seaward, Producers

[8] Gabrielle Tana, Steve Coogan and Tracey Seaward, Producers

[9] Nominees still undetermined

 

 

 

 

 

USC Twitter-Mining Computer Predicts Surprise Oscar Winner Tonight

 By Marc Parry

When it comes to which movies deserve an Oscar this Sunday, are fans and the official voters divided?

The public would have picked Avatar over The Hurt Locker in 2010, some say. But this is “The Age of Big Data,” as The New York Times put it recently. Which means computers can help settle this film-buff debate, courtesy of a new tool co-developed by the University of Southern California’s Annenberg Innovation Lab.

The lab’s “Oscar Senti-meter” mines millions of Twitter messages to chart how much people are talking about the nominated films, and, more important, whether that chatter is positive or negative. The inside dope among industry types holds that The Artist will win best picture. And Twitter fans, too, are showing the silent film a lot of love, says Jonathan Taplin, director of the new USC lab.

“The dark horse, from our point of view, is Midnight in Paris, which also has a huge amount of positive sentiment,” Mr. Taplin says, repeating a prediction he made inForbes on Tuesday. “That could be the one surprise.”

All-Time ‘Deep Culture Impact’ Films

Part of 13 series: Hollywood & Higher Education: Teaching Worldview Thru Academy Award-winning Film

I love The King’s Speech, and would vote for it as Best Picture (if  had a vote), but based upon what I’ve learned from past films, I suspect that another film will have greater ‘deep culture’ impact upon the next generation.

by Gary David Stratton, Senior Editor

Nearly two decades of using film to teach worldview to undergraduate students has resulted in a few surprises in which films have had the deepest cultural impact on a generation. (See, High Culture, Pop Culture, What about ‘Deep Culture’?)The list below is in no way infallible, but it sure could get a good conversation going.

Key: A-Action/Adventure, C-Comedy, D-Drama, F-Fantasy/Science Fiction, T-Thriller/Horror, *-Academy Award Winner

1939  The Wizard of Oz (F)

1943  Casablanca(D)*

1946  It’s a Wonderful Life(D)

1954Rear Window (T)

1959  Ben-Hur(D)*

1968  2001: A Space Odyssey (F),

1971 Fiddler on the Roof(M)

1972  The Godfather(D)* and The Godfather 2 (D)*

1973The Exorcist (T)

1973  The Sting (C)*[1]

1974  Chinatown (D)*

1975 One Flew Over the Cuckoo’s Nest (D)*

1975  Jaws(D)

1976Rocky(D)

1977  Star Wars: A New Hope (F) & 1980  The Empire Strikes Back(F)

1979  Alien (T), and 1986 Aliens(T)

1981  Raiders of the Lost Ark(F) and 1989 Indiana Jones and the Last Crusade (F)

1981  Chariots of Fire(D)*

1982  E. T. The Extra-Terrestrial(F)

1982  The Godfather(D)*, and The Godfather 2 (D)*

1984  Amadeus (D)*

1984  Ghostbusters(C)

1986  Star Trek IV: The Voyage Home (F) The of the best highly influential franchise… so far.

1987  The Princess Bride(C)

1989  Dead Poets Society(D)

1990  Dances with Wolves (D)*

1991 Terminator 2: Judgment Day (F)

1991  Beauty and the Beast (F)

1993  Groundhog Day(C)

1993  Schindler’s List (D)

1994  Forrest Gump(D)*

1994  Pulp Fiction (T)

1994  Shawshank Redemption(D)

1994  The Lion King(F)

1995  Braveheart (A)*

1997  Good Will Hunting (D)

1997  Titanic (D)*

1998  Saving Private Ryan(A)

1999  American Beauty (D)*

1999  Fight Club (A)

1999  The Matrix(F)

1999  The Sixth Sense(T)

2000  Gladiator(A)*

2001  The Lord of the Rings Trilogy: The Fellowship of the Ring(F), 2002  The Two Towers (F), and 2003  The Return of the King (F)*

2002  Spider-Man(F)

2004  Eternal Sunshine of the Spotless Mind(F)

2005  Crash (D)*

2008  Slumdog Millionaire(D)*

2008  The Dark Knight (F) and the entire Batman franchise [3]

.

And… drum roll please… my pick (educated guess) for which of the TEN films nominated for 2011 Best Picture will have the greatest long-term deep culture impact…

2010  Inception (F)

I love The King’s Speech, and would vote for it as Best Picture (if  had a vote), but based upon what I’ve learned from past films, I suspect that Inception’s imaginative story and evocative images have the best chance of actually shaping “the stories we live by” as a culture.

What films did I miss?

.

Next Post in Series: The Blind Side Leading the Blind: Better Faith-Based Filmmaking through Better Stories

 


[1] Probably should be a double mention for Butch Cassidy and the Sundance Kid(1969), since I’m not sure The Sting would have won if voters hadn’t realized they blew it in the first Newman/Redford movie.

[2] Other than perhaps the J.J. Abrams’ updates.

[3] Honorable Mentions: Back to the Future (1985), Field of Dreams (1989), Pretty Woman (1990), A Few Good Men (1992), Jerry Maguire (1996), Independence Day (1996), A Knight’s Tale (2001), The Departed (2006)*, Little Miss Sunshine (2006), Juno(2007), Up in the Air (2009), Avatar(2009), Toy Story 3 and the entire Toy Story trilogy.

High Culture, Pop Culture, What About Films that Impact ‘Deep Culture’?

Part of 11 series: Hollywood & Higher Education: Teaching Worldview Thru Academy Award-winning Film

In the past 25 years only THREE Oscar winners have managed to crack the top 50 all-time box office hits.

by Gary David Stratton, Senior Editor

2010 Oscar winner ‘Hurt Locker’ won critical acclaim, but with a paltry $17M domestic box office, never attracted a broad enough audience for ‘deep culture’ impact

The personal criteria Academy voters use to cast their vote for “Best Picture” remains a complete and total mystery. Story? Acting? Directing? Artistic merit? Political perspective? Personal taste? Since there are no objective standards for art, each year is fraught with controversy and the kind of unwinnable arguments that make for great public interest.

When I choose a movie for my students to view I am looking for something more specific. I want to know if a given film is likely to be one of the “stories my students live by.” (See, Casablanca and the Four Levels of Worldview). Since people don’t always “choose” the stories that shape them, just asking students to name their favorite movies can be very deceptive. In fact, the root-level stories that form the foundation of our worldview (or our culture’s) can be so subtle and pervasive, students can be deeply impacted by the stories and/or memes in films they have never even watched. (See, Crash Goes the Worldview.)

After a great deal of thought, I’ve decided that what I am really looking for is films that have achieved what I refer to as “deep culture” impact upon a generation. (As opposed to “Pop” culture or “High” culture.) Granted, this too can be a very subjective call. Measuring “impact” is one of the trickiest problems in modern historiography. Yet, sheer necessity has led me to developed my own informal (and often intuitive) system for finding worldview-shaping films.

One helpful (but fallible) way to estimate deep culture impact is to look for films that have achieved success what at what Hollywood sometimes calls the “double bottom-line.” Films that have:1) Celebrated Critical Acclaim, and 2) Broad Popular Appeal. It may be simplistic, but for the most part, I use these categories when considering a film for use with students: (See chart below.)

Category

A: Critical Acclaim = “High” Culture Impact

B: Broad Appeal = “Pop” Culture Impact

C: Critical Acclaim + Broad Appeal = “Deep Culture” Impact

.

A #27 ranking on the WGA list of all-time best screenplays tipped me off to its possible culture making power

Category A – Critical Acclaim: In determining whether or not a film has achieved critical acclaim I look for:

1) an Academy Award win or nomination for a Best Picture, and/or an Oscar win for Best Original Screenplay or Adapted Screenplay,

2) a place on the American Film Institute (AFI) 100 Greatest American Movies of All Time; and/or

3) selection to the Writers’ Guild of America’s (WGA) 101 Greatest Screenplays.

I often find unexpected worldview gems in these lists. For instance, I might have missed the culture-making power of Groundhog Day (1993) if not for its #27 ranking on the WGA list of all-time best screenplays. The same goes for underachieving box office comedy The Princess Bride (1987), a film that many students have memorized word for word.

.

Popularity doesn’t guarantee deep cultural impact, but it doesn’t hurt.

Category B – Broad Appeal: In determining if a film has broad appeal I look for at least one of the following:

1) a spot in the Top 100 all-time box office films,

2) a spot in the Top 100 grossing movies of all-time when adjusted for inflation; and/or,

3) a place on the Internet Movie Data Base’s (IMDB) Top 250 All-Time Films as voted by their readers.

Broad popular appeal can be a sign of deep culture impact even without critical acclaim. For instance, few would doubt their culture-making power of Lucas and Spielberg’s only joint project. Raiders of the Lost Ark (1981) and Indiana Jones and the Last Crusade (1989) were both Oscar busts, yet each rank in the IMDB top 100.

.

While imperfect, my system seems somewhat vindicated when even Oscar snubs like Lucas’s culture-impacting powerhouse come out on top

Category C – Deep Culture Impact: Films that do well in all both critical acclaim and broad appeal fit my elusive Category C: films of deep cultural impact. For instance, Casablanca (1942) won the Oscar for both Best Picture and Adapted Screenplay, is #1 on the WGA list, #3 on the AFI Top 100, and voted #16 by IMDB readers. Star Wars (1977) failed to bring home a Best Picture or Original Screenplay Oscar, but took in the second highest box office of all time (adjusted for inflation), and is #15 on the AFI all-time great list.

Getting into Category C is no easy task. In the past 25 years only THREE Oscar winners have managed to crack the top 50 all-time box office hits. Care to guess who they are?  (I’ll reveal that answer tomorrow.)

Even more remarkable, over 100 years of filmmaking has produced only 9 films that have achieved both AFI 100 top all-time ranking and a top 65 all-time box office (adjusted for inflation):

Gone With the Wind (1939)

Star Wars: Episode IV – A New Hope (1977)

E. T. The Extra-Terrestrial (1982)

Jaws (1975)

Snow White and the Seven Dwarfs (1937)

Ben-Hur (1959)

The Graduate (1967)

Fantasia (1940)

The Godfather (1972)

While my system is imperfect, it would be hard to argue that any of these 9 films don’t belong among the small canon of motion pictures that have achieved “deep culture” impact.

By focusing on critically acclaimed films that also achieved broad popular appeal I am hoping to discover films that have most deeply impacted culture …and my students.

So why are they so hard to find?

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Next Post in Series: Why Making Films ‘Deep Culture’ Films is so Elusive.

Oscar Week 2011: First Annual Two Handed Warrior Best Picture Poll

Hosts James Franco and Anne Hathaway should assure that this year's Oscar show will something special

Two Handed Warriors has never done a poll before.  In honor of Oscar Week–the Super Bowl of Hollywood Culture Makers–I’d try one. Cast your vote below. It should be fun as I try to weigh in on a series tracing lessons I’ve learned after two decades of selecting films for their worldview teaching value.

Tomorrow – Deep Culture: Is Winning an Oscar a Reliable Indicator of a Truly Great Film?