Very cute oscar winning movies

In the movie market of any kind of nation worldwide, Oscar is taken into consideration as one of the most distinguished rewards. Yearly countless movies send their elections for this traditional competition. There are various areas for obtaining the reward such as, ideal stars, finest supervisors, songs, visual effects and so on. After sending, the Oscar board has actually chosen couple of amongst them and afterwards the competition is begun to locate the finest movie in various groups. In here discussed web link you will certainly learn very outstanding best picture academy awards having actually accomplished the honor. There is likewise a short summary on in addition to the movie where you could see the information of the movie likewise, such as the launch day, name of the supervisor, the tale and so on.

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87. Gigi (1958) 

MGM

Directed by: Vincente Minnelli
Written by: Alan Jay Lerner
The other Oscars it won: Minnelli (Best Director); Lerner (Best Adapted Screenplay); Joseph Ruttenberg (Best Cinematography – Color); William A. Horning, E. Preston Ames, Henry Grace, and F. Keogh Gleason (Best Art Direction); Cecil Beaton (Best Costume Design); Adrienne Fazan (Best Film Editing); André Previn (Best Score – Musical); Frederick Loewe and Lerner (Best Original Song)
What it beat for Best Picture: Auntie Mame, Cat on a Hot Tin Roof, The Defiant Ones, Separate Tables

Yes, the creepiest, most pedophiliac movie ever to win Best Picture is this list’s worst. How to define “worst” in this context, especially when judging Gigi — a movie musical some people love now, and certainly many people loved in 1958 — against films that were barely movies as we currently recognize them? This list is, of course, totally subjective: I factored in my personal feelings about each movie, along with how well it has held up, how influential it is, and what it was up against. And then there’s the ineffability of common wisdom, which I also have taken into account. No matter how I feel about Annie Hall or about Schindler’s List, for example, I know I’m in a minority view in my dislike — and that matters. Not with Gigi, though, in which Leslie Caron plays a Parisian girl being trained to be a courtesan who ends up in a push-and-pull relationship with the much older Gaston (Louis Jordan). This is the movie that gave us that disturbing cultural artifact, the song “Thank Heaven For Little Girls.” If you want disturbing psychosexual movies from 1958, let’s agree that Vertigo, which was nominated only for Best Art Direction and Best Sound, is preferable. To reiterate: Gigi is the worst.

86. The Greatest Show on Earth (1952) 

Paramount Pictures / Everett Collection

Directed by: Cecil B. DeMille
Written by: Fredric M. Frank, Barré Lyndon, Theodore St. John, and Frank Cavett
The other Oscars it won: Frank, St. John, and Cavett (Best Story)
What it beat for Best Picture: High Noon, Ivanhoe, Moulin Rouge, The Quiet Man

Produced and directed by Cecil B. DeMille on a huge scale, this movie is often cited as one of the worst movies ever to win Best Picture. I say it is second worst. Jimmy Stewart as Buttons the clown is a complete travesty for sure. Note that Singin’ in the Rain, a classic that also came out in 1952, wasn’t even nominated for Best Picture.

85. Crash (2005)  

Lionsgate Films

Directed by: Paul Haggis
Written by: Paul Haggis and Bobby Moresco
The other Oscars it won: Haggis and Moresco (Best Original Screenplay); Hughes Winborne (Best Film Editing)
What it beat for Best Picture: Brokeback Mountain; Capote; Good Night, and Good Luck; Munich

It’s one outrage that the superior, devastating tragedy Brokeback Mountain lost the Best Picture prize; it’s another that Crash won instead. These are two separate terrible things that happened, and the fact that these movies are forever associated taints the beauty of Brokeback Mountain. Crash wields its message with a mallet’s touch — every nominated movie was better (and I don’t like Munichmuch).

84. Wings (1927) 

Paramount Pictures

Directed by: William A. Wellman
Written by: Hope Loring and Louis D. Lighton
The other Oscars it won: Roy Pomeroy (Engineering Effects)
What it beat for Best Picture: 7th Heaven, The Racket

Where to put Wings, the first movie ever to win Best Picture at the first-ever Academy Awards (which were not yet called “Oscars”)? It’s a silent film, and, until The Artist, was the only one ever to have won in the top category. And, as with some of these early winners, it’s more important to film history than it is enjoyable to watch now. I mean… it’s long! Almost two-and-a-half hours long. Still, I’d rather watch this story about two friends who become pilots in World War I, featuring Clara Bow and a young Gary Cooper, than, say, Crashever again. (Fun fact: The first Academy Awards took place on May 16, 1929. It was almost two years after Wings was released. But the first ceremony honored films released in 1927 and 1928.)

83. The Great Ziegfeld (1936) 

MGM

Directed by: Robert Z. Leonard
Written by: William Anthony McGuire
The other Oscars it won: Luise Rainer (Best Actress); Seymour Felix (Best Dance Direction)
What it beat for Best Picture: Anthony Adverse, Dodsworth, Libeled Lady, Mr. Deeds Goes to Town, Romeo and Juliet, San Francisco, The Story of Louis Pasteur, A Tale of Two Cities, Three Smart Girls

Ridiculously long (almost three hours), especially for a musical — according to the Variety review from 1936, it was “the record holder to date for length of a picture in this country.” And the music and dancing are forgettable, unfortunately. Though there is a bit of fun in this one, especially from William Powell as Flo Ziegfeld and actors playing themselves (most notably Fanny Brice and Ray Bolger), there is also… blackface. No.

82. Cimarron (1931) 

RKO Radio Pictures

Directed by: Wesley Ruggles
Written by: Howard Estabrook
The other Oscars it won: Estabrook (Best Adapted Screenplay); Max Rée (Best Art Direction)
What it beat for Best Picture: East Lynne, The Front Page, Skippy, Trader Horn

I repeat: these early winners — it’s hard. Cimarron is interesting because it was a big-budget movie filmed during the Depression. (It cost more than $1.4 million to make, which indie films can still make work today.) It’s an ambitious Western, based on an Edna Ferber novel, and has a strong female lead (Irene Dunne). Tracy Letts nerds will also be interested in knowing that it takes place in Osage, Okla. during its late-19th century boom. But it’s not a walk in the park to see now. And there are some terrible racial/anti-Semitic stereotypes that are of the movie’s time, but a bummer that highlights Cimarron’s datedness.

81. The Broadway Melody (1929) 

MGM

Directed by: Harry Beaumont
Written by: Sarah Y. Mason, Norman Houston, and James Gleason
The other Oscars it won: None
What it beat for Best Picture: Alibi, In Old Arizona, The Hollywood Revue of 1929, The Patriot

The second movie to win an Academy Award for Best Picture, the first modern movie musical, legendary producer Irving Thalberg’s first Oscar, and MGM’s first musical ever, is, sadly, not good by today’s standards. Still: respect.

80. Cavalcade (1933) 

SNAP / Rex/REX USA

Directed by: Frank Lloyd
Written by: Reginald Berkeley and Sonya Levien
The other Oscars it won: Lloyd (Best Director); William S. Darling (Best Art Direction)
What it beat for Best Picture: A Farewell to Arms, 42nd Street, I Am a Fugitive from a Chain Gang, Lady for a Day, Little Women, The Private Life of Henry VIII, She Done Him Wrong, Smilin’ Through, State Fair

Cavalcade, which takes audiences through years of world events from the late 19th century until 1930 (the Boer War, the Titanic) through the eyes of an English family, was based on a Noel Coward play. The film was popular when it was released but has faded from people’s memories. It is watchable-ish now. There are a number of movies it beat for Best Picture, as you can see, that are more popular today. (The 1933 Marx Brother’s Duck Soup wasn’t nominated at the time, having been considered a disappointment.)

79. Birdman or (The Unexpected Virtue of Ignorance) (2014) 

Fox Searchlight

Directed by: Alejandro González Iñárritu
Written by: Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Armando Bo
The other Oscars it won: Iñárritu (Best Director); Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Armando Bo (Best Original Screenplay); Emmanuel Lubezki (Best Cinematography)
What it beat for Best Picture: American Sniper, Boyhood, The Grand Budapest Hotel, The Imitation Game, Selma, The Theory of Everything, Whiplash

Gleefully overblown in every way, Birdman opened to generally rapturous reviews about Michael Keaton’s welcome comeback, the supporting performances of Edward Norton and Emma Stone, and the camera work of Emmanuel Lubezki (which made the movie look like one continuous shot), and the movie on the whole. Only when Birdman swept the guild awards —the Screen Actors Guild award for Best Ensemble, the Directors Guild award for Iñárritu, and the Producers Guild award for the movie — did panic begin to set in: Might the Academy also think Birdman was actually better than Richard Linklater’s beautiful, loving, humane achievement for the ages, Boyhood? Yes. Yes, it did. In Birdman, Keaton plays Riggan Thomson, a un-fun-house mirror version of himself: an aged actor from a superhero franchise of yore, struggling to come back to find relevance and validation. (Thank god Keaton was in Spotlight in 2015, a movie in which he was able to actually show off his subtle, intelligent skills.) In his Broadway directing/writing/acting debut, Riggan is surrounded by caricatures of theater fools. These include Mike (Norton), a hothead egoist and star of the stage; Lesley (Naomi Watts), a desperate actor and woman who never ceases announcing phrases like “This is Broadway, and I’m here finally!”; and Laura (Andrea Riseborough), Riggan’s girlfriend and co-star, who doesn’t develop as a character beyond wanting more from Riggan. Without its achievements in cinematography, Birdman would be seen for what it is: an indulgent character dramedy dipped in magical realism about the worst, most annoying people we will — if we’re lucky — never meet. There are movies on this list that have not aged well after decades. Birdman, with its references to bloggers and virality and Meg Ryan’s plastic surgery, has managed to feel dated already. Watching it again, I felt that the feathered, threatening figure of Birdman spoke for me when he said to Riggan, “How did we end up here? This place is horrible.”

78. The Life of Emile Zola (1937) 

Warner Brothers

Directed by: William Dieterle
Written by: Norman Reilly Raine, Heinz Herald, and Geza Herczeg
The other Oscars it won: Raine, Herald, and Herczeg (Best Screenplay); Joseph Schildkraut (Best Supporting Actor)
What it beat for Best Picture: The Awful Truth, Captains Courageous, Dead End, The Good Earth, In Old Chicago, Lost Horizon, One Hundred Men and a Girl, Stage Door, A Star Is Born

A tedious slog through Emile Zola’s adult life until the movie gets to the Dreyfus Affair, which brings the film some focus. No mention of anti-Semitism, though. As the scholar Ben Urwand detailed in a 2013 book, The Collaboration: Hollywood’s Pact with Hitler, it was Jack Warner of Warner Bros. himself who ordered the word “Jew” be excised from the screenplay.

77. The Lost Weekend (1945) 

Paramount Pictures

Directed by: Billy Wilder
Written by: Charles Brackett and Billy Wilder
The other Oscars it won: Wilder (Best Director); Brackett and Wilder (Best Adapted Screenplay); Ray Milland (Best Actor)
What it beat for Best Picture: Anchors Aweigh, The Bells of St. Mary’s, Mildred Pierce, Spellbound

This movie presents a dilemma: How do you judge something now that has aged so poorly, but was provocative and brave at the time? Billy Wilder’s movie about an out-of-control alcoholic (Ray Milland) is an over-the-top melodrama, and, at this point, unintentionally campy. It’s certainly significant, though, both in the history of film and to see how people viewed addiction 70 years ago. Still, you will laugh watching it.

76. Gentleman’s Agreement (1947) 

 20th Century Fox

Directed by: Elia Kazan
Written by: Moss Hart
The other Oscars it won: Kazan (Best Director); Celeste Holm (Best Supporting Actress)
What it beat for Best Picture: The Bishop’s Wife, Crossfire, Great Expectations, Miracle on 34th Street

To the modern viewer, Gentleman’s Agreement goes into the same bucket as The Lost Weekend: It’s an issue movie that was a step forward then. In the case of Gentleman’s Agreement, Gregory Peck plays a journalist who masquerades as a Jew in order to experience and write about anti-Semitism. Yet, as with The Life of Emile Zola, the movie is almost comically tame when confronting controversy directly — and does not mention Hitler or the Holocaust. It’s almost worth watching, if you haven’t yet, to see how bizarre that is.

75. Around the World in 80 Days (1956) 

Moviestore Collection / Rex / Rex USA

Directed by: Michael Anderson
Written by: James Poe, John Farrow, and S.J. Perelman
The other Oscars it won: Poe, Farrow, and Perelman (Best Adapted Screenplay); Lionel Lindon (Best Cinematography – Color); Gene Ruggiero and Paul Weatherwax (Best Film Editing); Victor Young (Best Score – Dramatic or Comedy)
What it beat for Best Picture: Friendly Persuasion, Giant, The King and I, The Ten Commandments

This damn movie is three hours long. It also features horrifyingly cringe-inducing ethnic stereotypes from, you know, around the world. But if you are in bed sick with the flu, and this movie is on, you can have fun looking for the crazy cameos, which include Marlene Dietrich and Frank Sinatra, as you slip in and out of consciousness. And in that respect, the movie represents the wrangling achievements of Mike Todd, the producer (of Elizabeth Taylor husband fame). The 1957 Oscars is also notable for two dubious reasons: John Ford’s The Searchers was nominated for zero awards, and the Hollywood blacklist hung over the screenwriting categories. (Both Dalton Trumbo and Michael Wilson, blacklisted writers, were nominated, and could not receive credit.)

74. Dances With Wolves (1990) 

Orion Pictures

Directed by: Kevin Costner
Written by: Michael Blake
The other Oscars it won: Costner (Best Director); Blake (Best Adapted Screenplay); Dean Semler (Best Cinematography); Neil Travis (Best Film Editing); John Barry (Best Original Score); Jeffrey Perkins, Bill W. Benton, Greg Watkins, and Russell Williams II (Best Sound)
What it beat for Best Picture: Awakenings, Ghost, The Godfather Part III, Goodfellas

Look at those weird nominees for Best Picture: What an awful year! But most important, oh my god, Dances With Wolves beatGoodfellas. Nightmare. It may be hard to remember when Kevin Costner was the biggest star in the United States, but that was the case. And Dances With Wolves, a white-person fantasy about bonding with Native Americans, was his apex: He produced, starred in, and directed (his first time) this film. Time hasn’t been kind to Dances With Wolves — rightly.

73. Out of Africa (1985) 

Universal Pictures /Moviestore Collection / Rex / Rex USA

Directed by: Sydney Pollack
Written by: Kurt Luedtke
The other Oscars it won: Pollack (Best Director); Luedtke (Best Adapted Screenplay); David Watkin (Best Cinematography); Stephen Grimes and Josie MacAvin (Best Art Direction); John Barry (Best Original Score); Chris Jenkins, Gary Alexander, Larry Stensvold, and Peter Handford (Best Sound)
What it beat for Best Picture: The Color Purple, Kiss of the Spider Woman, Prizzi’s Honor, Witness

Have you watched Out of Africa recently? Even when I first saw it, I remember thinking, Is it possible that Robert Redford is actively bad in this movie? Yes. Yes, he is. This film looks ravishing, and its wins for Best Cinematography and Art Direction are more than deserved. Meryl Streep works her ass off here too. But my god, is it boring. I prefer every other nominated movie over Out of Africa, but Ran, the Akira Kurosawa movie that wasn’t in the Best Picture category, was the actual best of the year, I think.

72. The English Patient (1996) 

Miramax Films

Directed by: Anthony Minghella
Written by: Anthony Minghella
The other Oscars it won: Minghella (Best Director); Juliette Binoche (Best Supporting Actress); John Seale (Best Cinematography); Stuart Craig and Stephenie McMillan (Best Art Direction); Ann Roth (Best Costume Design); Walter Murch (Best Film Editing); Gabriel Yared (Best Original Score – Dramatic); Murch, Mark Berger, David Parker, and Chris Newman (Best Sound)
What it beat for Best Picture: Fargo, Jerry Maguire, Secrets & Lies, Shine

There will be those who fault me for ranking this movie so low. And there are things I do love about The English Patient — mostly, Ralph Fiennes’ and Kristin Scott Thomas’ performances. But I’m putting it in proximity to Out of Africa because I associate them in bloat and indulgence. What should have won this year? The First Wives Club, clearly! Just kidding. (No, I am not.) But of the movies nominated, I favor Secrets & Lies. And Fargo. Maybe even Jerry Maguire!