10 Worst Winners in Oscar History (Anora's #9)

In my opinion, Anora is an extremely mediocre film. Its win completely shocked me. I have always believed that the Best Picture at the Oscars should represent the pinnacle of Hollywood filmmaking. Yet here we have Anora, which on Peliplat barely reaches a 7.7—never even hitting an 8. This is just an average score. I never imagined that among all the awarded films there would be one this mediocre. Even more surprising is that throughout Oscar history, there are several films that disappoint even more than Anora.

Today, I’m going to count down, in order of increasing Peliplat ratings, the 10 Best Pictures in Oscar history that have earned the lowest scores. Let’s see which ones they are.

1. Cimarron (1931) – Score: 5.8

Starting at the very bottom, we have Cimarron from 1931. This film was the first Western to win the Best Picture Oscar, a milestone at the time. However, on Peliplat, it only scores about 5.8. The story is stiff and outdated, and the characters are thinly drawn. Watching Cimarron feels like flipping through a dusty history textbook rather than experiencing a moving work of art. Every time I think about it, I can’t help but wonder: is this really what the judges considered a “masterpiece” back in the day?

2. The Greatest Show on Earth (1952) – Score: 6.6

Next up is The Greatest Show on Earth from 1952, which has a score of 6.6. The film grab the audience’s attention with a series of grand, circus-like scenes and spectacular performances. But when you look past the dazzling visuals, the plot falls apart. Those flashy images cannot hide the emptiness at the core of the story. In the end, it feels like the movie is nothing more than a carefully choreographed visual spectacle, lacking any real artistry or emotional depth. After watching, all you’re left with is the impression of a big, expensive advertisement—not the kind of art film one expects from an Oscar winner.

3. Shakespeare in Love (1998) – Score: 7.1

Then there’s Shakespeare in Love from 1998, which tells the story of how William Shakespeare found inspiration for his work. You would think it should be full of clever dialogue and dramatic tension. However, the film’s lines and plot feel overly contrived, as if every scene was engineered solely to win an award. Every time I see those forced moments, I wonder: is this a sincere attempt to recreate history, or is it just a joke? Worse still, this film famously (or infamously, you decide) beat out epic films like Saving Private Ryan, making it one of the most controversial winners in Oscar history.

4. Driving Miss Daisy (1989) – Score: 7.3

Let's move on to Driving Miss Daisy from 1989, which scores about 7.4. This film tells the story of an elderly woman and her driver, whose friendship crosses racial and generational lines. It’s full of warmth and the glow of human kindness. Unfortunately, that warmth is smothered by a slow narrative and endless dialogue. For me, watching this film is like being gently lulled to sleep; it’s comforting, like a cup of warm water, but it doesn’t leave a lasting impression. It may please some viewers with its simplicity, but it just doesn’t stir me up in any meaningful way.

5. Wings (1927) – Score: 7.4

Next is Wings, the first film ever to win the Best Picture. Made in 1927, it was groundbreaking at the time. However, on Peliplat, it scores around 7.35—barely scraping by today. The film relies almost entirely on physical acting and silent film techniques to tell its story. Although there are some impressive aerial combat scenes that must have been exciting back then, the overall plot is so sparse and basic that it struggles to resonate with modern audiences. Watching Wings today feels like viewing an old technical experiment rather than an emotionally engaging film.

6. The English Patient (1996) – Score: 7.4

The English Patient from 1996 is an epic love story set against the backdrop of war. It once moved countless viewers with its beautiful cinematography and stirring soundtrack. However, these days its dragging narrative makes it hard to stay engaged. Every time I watch it, I find myself growing restless as the story plods along, as if it sacrificed a tight plot just to show off gorgeous scenery. In comparison, another film from the same year, Fargo, seems more deserving of the Best Picture award.

7. The Hurt Locker (2008) – Score: 7.4

In seventh place is The Hurt Locker from 2008. This war film builds tension by showcasing the nerve-wracking work of a bomb disposal team in Iraq. Technically, the movie is impressive, and its action scenes are executed with precision. However, the emotional side is almost non-existent. The film comes off as a clinical military drill rather than an artful depiction of human struggle in war. After watching it, I only felt an overwhelming sense of emptiness—a tension that never translates into genuine emotional impact.

8. Crash (2004) – Score: 7.5

Next is Crash from 2004, which originally set out to explore issues of race and social conflict. Instead, it feels like a patchwork of stories cobbled together. The film attempts to interweave several threads that, in theory, should offer deep insights. In practice, however, each story feels rushed and poorly connected. After watching Crash, I couldn’t shake the feeling that the director was simply stuffing the film with trendy topics to please the judges,at the expense of real emotional storytelling and logical coherence.

9. Anora (2024) – Score: 7.7

Now we come to Anora, the focal point of this article. With a score of about 7.7, this film won the Best Picture this year. Yet, it fails to impress the audience. The story is unimaginatively bland; its attempts at depicting class struggle and an inspirational rise are nothing more than overused clichés. It feels nothing more than a formulaic cash grab designed solely to win awards. What really surprised me is that among all these “Best Picture” winners, there are ones even worse than Anora.

10. Argo (2012) – Score: 7.8

Finally, there is Argo from 2012, which tells the story of a secret rescue during the Iran hostage crisis. The film’s plot is tightly constructed, and it has enough thrilling scenes to keep you on the edge of your seat. However, overall, the character development and emotional depth feel very superficial. Many of the scenes seem to be thrown together just to build suspense, lacking the substance that makes a movie truly memorable. Compared to other classic films, Argo might work as a political thriller, but it doesn’t have the enduring impact of a truly great film.

I thought Anora was awful enough among all the Best Picture winners, until I found that some of its predecessors are even worse. I hope that future Oscars will focus more on the true value of films instead of getting mired in award-show politics. After all, a movie that truly touches people's hearts shouldn’t just be about a flashy little golden statuette—it should be a work of art that resonates with audiences.

Catch you later for more movie musings!