60° Good Afternoon
60° Good Afternoon

Oscar snubs

It's hard to get too outraged by the Academy Award nominations, if only because they fundamentally have little to do with, you know, art. That being said, there were some glaring blind spots this year: a total lack of diversity among the nominees chief among them. The Academy is known for being overwhelmingly white, male and old, so this is perhaps not surprising, but still:

This is the whitest Oscar class since 1995.

There are no women nominated for Best Director, in either of the screenplay categories or for their cinematography.

These are the three most egregious individual snubs:

Ava Duvernay, director of “Selma”

“Selma” scored two nominations (Best Picture and Best
Photo Credit: GETTY IMAGES

“Selma” scored two nominations (Best Picture and Best Original Song) despite being one of the most powerful movies of the year. It got screwed in a lot of ways, and for reasons that probably have more to do with technicalities regarding screeners and campaigns than anything, but passing over Duvernay for her remarkable direction is a major mistake.

"Life Itself"

The Academy seems to really hate Steve James,
Photo Credit: Magnolia Pictures/ Kevin Horan

The Academy seems to really hate Steve James, who might be the greatest documentarian working today. They snubbed his masterpiece “Hoop Dreams,” which transformed the genre’s possibilities, and have continued snubbing him through the years. It’s hard to make any sense of this continued rejection, which happened again when they failed to give a Best Documentary nomination to his extraordinary Roger Ebert documentary, a genuinely inspiring portrait of a man living with great dignity and strength as his health progressively fails him.

"The Lego Movie"

There were not five better animated films than
Photo Credit: Handout

There were not five better animated films than “The Lego Movie” this year. There weren’t four. Or three. Or two. You see what I’m getting at here. This is an utterly inexplicable snub of a movie that everyone seems to love, that pulled in an enormous box office haul (close to $258 million so far) and offered a clever, self-reflexive experience unlike any before it.


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