The Academy Awards often bring excitement—unless, of course, you’re one of those entertainment critics who religiously watches yet insists it’s “boring.” Personally, I relish every moment. Yet, despite the glamor, the Oscars have never truly been seen as “cool.” They’ve been overly flashy, unabashedly focused on star power, and, until recently, firmly rooted in mainstream appeal.
However, the nominations for the 87th Academy Awards reveal a significant shift. This year’s categories are filled with films that are cerebral, artistic, and distinctly independent—works that critics have praised, though many have struggled at the box office, even within indie standards. When I began following the Oscars in the late ’70s and ’80s, the notion of an “Oscar-worthy movie” was heavily influenced by commercial success. Best Picture winners were typically crowd-pleasers; if a film didn’t resonate with audiences, it was unlikely to win.
Fast forward to today, and blockbusters, sequels, and franchise films—those popcorn hits that dominate cinematic culture—are overlooked by the Academy. The decision to award the final film in the “Lord of the Rings” trilogy as Best Picture in 2003 was intended to elevate fantasy films, yet it seems to have had the opposite effect. Now, those films are virtually excluded from consideration.
This year’s Best Picture nominations resemble those of the Independent Spirit Awards, featuring films like The Grand Budapest Hotel, a whimsical caper that’s the first Wes Anderson film I truly enjoyed, and Birdman, a unique narrative about a faded Hollywood actor seeking redemption on stage. Despite the acclaim for Birdman, it’s surprising to note its box office total of just $26 million—less than Taken 3 made in one weekend. Other nominees include Whiplash, an inventive film about a young jazz drummer facing a harsh mentor, and Boyhood, a groundbreaking film shot over 12 years that, if it wins Best Picture, would mark an unprecedented moment in Oscar history.
Some nominations still adhere to the traditional Oscar mold. Selma, the biopic on Martin Luther King, Jr., was underrepresented, notably lacking a Best Actor nod for David Oyelowo, possibly impacted by controversies surrounding its portrayal of President Lyndon B. Johnson. Meanwhile, American Sniper, directed by Clint Eastwood, is a highly patriotic Iraq War drama that could appeal to a broader audience; it seems nominated primarily due to Eastwood’s established reputation within the Academy.
The Oscars remain a grand showcase for Hollywood, yet the composition of the Academy and its members’ aspirations have transformed. Previously dominated by older voters resistant to avant-garde films, the Academy now includes a significant number of Gen X members who prioritize credibility over mainstream popularity. This demographic is drawn to audacious indie films, leading to a disconnect between traditional Oscar films and the majority of Hollywood’s output. Surprisingly, the Oscars have evolved into a niche event, gaining a sense of hipness.
This shift began gradually during the Harvey Weinstein era, gaining momentum when The Hurt Locker won Best Picture in 2008, becoming one of the lowest-grossing winners in Oscar history. The notion that a Best Picture winner must be a box office success has dissipated. This trend was further illustrated by the nomination of Beasts of the Southern Wild in 2012, a film that, while unconventional, signaled a significant transformation in the Oscars.
If the same films were released two decades ago, nominees would likely include widely popular films like Unbroken, a gripping WWII survival story directed by Angelina Jolie, or Into the Woods, a beloved musical adaptation. Gone Girl, a highly regarded thriller, would almost certainly have been in the mix, as would Foxcatcher, a gripping true-crime drama that, despite critical acclaim, struggled to find an audience.
As a long-time advocate for independent cinema, the evolving Academy Awards should be a cause for celebration. Nonetheless, I approach this change with skepticism. Awarding films shouldn’t conform to a commercial or anti-commercial formula. If someone were to ask why Guardians of the Galaxy wasn’t nominated, they might be dismissed, yet it was one of my top films of the year and superior to many current Best Picture contenders. The Oscars’ tendency to overlook popular films raises questions about their relevance in recognizing cinematic excellence. Embracing art is important, but open-mindedness in awarding films is even more crucial.
Summary
The Academy Awards have seen a significant shift in recent years, moving away from mainstream popularity towards a focus on independent and artistic films. This change reflects a new generation of voters within the Academy who prioritize credibility and audacity over box office success. While this evolution may seem positive, it also raises concerns about the Oscars’ relationship with popular cinema and the definition of what constitutes an “Oscar-worthy” film.