One of the most consistent aspects of the Academy Awards is their ability to divide people. Making a decision on what is the best movie, performance, or technical display of skill in a given year is bound to ruffle some feathers. It’s impossible to please everyone when you can only make one choice in each category.

While you kind of have to accept whatever decision the voting body of the Academy makes each year, that doesn’t mean you have to be happy about it. Below I walk through the ten decisions that made me the most upset. There are lot of opinions, a lot of hills I am comfortable dying on, and a lot of ruffled feathers.

Oh yeah and…

***SPOILERS AHEAD***

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10. Best Supporting Actress – 1990

Who Won: Whoopi Goldberg as Oda Mae Brown in Ghost

Who Should Have Won: Lorraine Branco as Karen Hill in Goodfellas

If it were up to me, the 1990 Oscars would have essentially been the “let’s celebrate how awesome of a movie Goodfellas is” show. They would have taken home nearly every major award that night. But alas, not only was it not up to me, I wasn’t even alive at the time.

A theme of this list is hindsight bias and this bias is never on better display than it is with this flick. This is among the all-time great movies when it comes to aging well. At the time, no one could have imagined the footprint it would leave on cinema, the careers of all those involved, and fans of film. It has grown into a must watch for casual viewers and film students alike. And this work of art would not have been complete without Lorraine Bracco’s stunning turn as Karen Hill.

In this role Bracco not only matches, but often surpasses the performances around her. Let that sink in for a moment. She manages to go toe-to-toe and sometimes out act Joe Pesci in his Oscar winning turn, the great Robert De Niro, and Ray Liotta in his career-defining role. It’s a daunting task, but Bracco was up for the challenge. In a sea of men, she stays afloat as a powerful and dynamic female character worthy of the spotlight.

This role asks for Karen to turn the volume all the way up. She is asked to narrate, to fight, to meltdown, to be strung-out, to have a moral conflict, and to be strong as the wife of a gangster instead of living in Henry’s shadow. Bracco succeeds in turning it all the way up and more making it impossible to take your eyes off of her whenever she is on screen.

It’s also worth noting that I have been historically disappointed with Bracco’s other performances – namely her snooze-worthy portrayal of Dr. Melfie on The Sopranos. The fact that she entrances me in the way that she does in Goodfellas speaks for itself.

Adding all of this up makes me even more dumbfounded to find out she didn’t take home the prize that night. This was a career best performance and a towering female turn in a cast full of several older, notable white males. She powered through and shown with a white hot light that is worthy of an Oscar.

9. Best Picture – 1990

Who Won: Dances with Wolves

Who Should Have Won: Goodfellas

That didn’t take long for us to jump right back onto the Goodfellas train now did it?

Don’t worry, I won’t be repetitive. I already said my piece about this film. Under-appreciated in it’s time, but looked at as film royalty 30 years later. I will say, this misalignment in the film’s reputation among viewers and critics alike in 1990 vs now is the reason why this snub isn’t higher on my list. Standing the test of time means a lot and unfortunately for Goodfellas these Oscars didn’t get to see how well things were going to work out in the long run.

The argument for having an Oscars celebrating a certain year in film ten year’s after the fact has never been stronger than it is with the Goodfellas-hive.

8. Best Picture – 2005

Who Won: Crash

Who Should Have Won: Brokeback Mountain

Brokeback Mountain was a movie that I watched embarrassingly late in my life. Considering this, I had even more time for the movie to be hyped up before I got a chance to see it for myself. In my experience, high expectations and over-type have spoiled many movie viewing experiences. What could have been a lovely time spent watching a film turns into a disappointment when the film doesn’t match expectations. In this sense, Brokeback had a lot to live up to and a high likelihood of letting me down. But it did just the opposite.

There were no expectations that could have prepared me for the emotional and visual trip that this movie takes you on. It’s a masterpiece of acting, directing, and screenwriting whose ripple effect throughout the history of cinema will only continue to grow.

It is one of the most beautiful and touching love stories I have ever seen, is my favorite Heath Ledger performance, and features Jake Gyllenhaal overcoming the most ridiculous movie name of all time. I am still impressed that I didn’t laugh every time Jack Twist popped up on my screen. Kudos to you Jake.

The fact that it didn’t win best picture is astonishing in hindsight. It was clearly the best film of that year and is one of the best films of the 2000’s. For it to lose to Crash – a film that’s reputation has failed to stand the test of time – is a disappointment worthy of landing on this list.

7. Best Supporting Actor – 2000

Who Won: Benicio del Toro as Javier Rodriguez in Traffic

Who Should Have Won: Joaquin Phoenix as Commodus in Gladiator

I have already mused about Joaquin’s performance in Gladiator when diving deep into this tumultuous Oscar’s category – and don’t worry, this is not the final appearance of Best Supporting Actor on this list.

I have already said my piece, so I won’t get too deep into it again. Yet, I can’t resist reminiscing on the mouth agape shock I had after I looked up this film’s award wins and saw that Joaquin had merely been nominated.

He is evil, revolting, menacing, and pathetic all at once. He is one of the most hatable villains I have ever seen in a movie and not just for what he does, but how he does it. This is a master class in movie villainy and case study for why a juicy backstory makes a compelling villain.

I will leave it at this: Phoenix’s performance is so reviling that you have to wonder whether you really are rooting for Maximus to win or if you just want Commodus to lose. To accomplish such intense hatred from a viewer is so impressive that it has to be Oscar worthy.

6. Best Picture – 1976

Who Won: Rocky

Who Should Have Won: All The President’s Men

I watched both of these memorable seventies films when I was in high school and I have a vivid recollection of my immediate reactions to both.

As a sports fan and huge fan of films where the hero falls short, Rocky was a guaranteed winner for me. It hit all the right notes from it’s classic underdog story to it’s song choices. While it was strange to be impressed by someone who had become a bit of a punch line in the way that Sylvester Stallone had, I was pleasantly surprised. He captured the role with soul and vulnerability and wrote a heck of a screenplay. When the credits finally rolled, I understood why this movie is revered in the way that it is. It’s iconic.

When I saw All The President’s Men, on the other hand, the definition of what a movie could be that I held in my head changed forever.

It’s true that in a lot of ways this movie is right up my alley. I am a sucker for an investigative journalism/mystery flick. I adore movies based on real life. And Dustin Hoffman? Yes please. But the meticulous crafting of this film makes it’s mastery feel undeniable. The star-studded cast disappear into their roles becoming nearly unrecognizable to you during the run-time. The storytelling makes you forget that you know exactly how the story ends and sucks you in to the suspense as it all unfolds. It is genius.

This movie is a masterclass of what a film can be with all the pieces humming in unison. And while Rocky might be the more iconic film, All the President’s Men is no doubt the superior work of art. But that is just one girl’s opinion.

5. Best Actor – 2013

Who Won: Matthew McConaughey as Ron Woodroof in Dallas Buyers Club

Who Should Have Won: Leonardo DiCaprio as Jordan Belfort in The Wolf of Wall Street

We have officially entered the “hill I am willing to die on” portion of this list.

It does not sit well with me that our beloved Leo took home his first golden man for one of the most Oscar-baity performances I have ever seen in The Revenant. Especially when I think that Tom Hardy outshone him in that film. It doesn’t sit well with me for the most part because, a few years earlier Leo delivered what I believe to be his best nominated performance.

In The Wolf of Wall Street, Leo does a little bit of everything. He makes you hate him, but – maybe just because it’s Leo – also love him against your better judgement. He makes you laugh with his delivery and his unparalleled physical comedy (read: the quaaludes scene). He makes you cringe, gasp, even shudder in disgust. You pity him and yet you can’t take your eyes off of him. It’s the kind of larger than life character that Leo has been asked to play before, but never succeeded at in quite the same way.

In a long career of fabulous performances, this one feels like his most dynamic. He is funnier, more hatable, and more balls-to-the-wall than he has ever been before.

Then you have McConaughey.

I have, like everyone else, my own relationship with this strange gangly man. And just like everyone else, I was impressed by his ability to go from the kind of guy who stars in sub-par romantic comedies with Kate Hudson, to losing weight and delivering this dramatic turn. I was impressed by the pivot in his career and his dedication to the role. But being impressed with something doesn’t mean you need to reward it.

Should we really be rewarding Matthew for succeeding in impressing us with a performance outside his typical wheelhouse? Or should we be rewarding Leo for delivering a stand-out performance in a career littered with stand-out performances?

The truth is we should be rewarding the best performance in film that year. That performance in this particular year was Leo as Jordan Belfort in The Wolf of Wall Street. Maybe the academy was too busy being caught off guard by this new Matthew McConaughey they were seeing. Or maybe they were rewarding the dramatic performance instead of the one that might read more comedic. Whatever the reason, they got it wrong.

And that is a hill I am willing to die on.

4. Best Actress – 1980

Who Won: Sissy Spacek as Loretta Lynn in Coal Miner’s Daughter

Who Should Have Won: Mary Tyler Moore as Beth Jarrett in Ordinary People

Hand up, I have never seen Coal Miner’s Daughter so I cannot speak to Sissy Spacek’s performance in the film. What I can speak to, however, is the unbelievable performance that Mary Tyler Moore gives in Ordinary People. One that, I believe, is worthy of an Oscar.

I had heard of Mary Tyler Moore prior to seeing this movie. I knew she was on TV for a long time and people loved her. She was a Lucille Ball-esque television icon. What I didn’t realize is that this role was such a tonal shift for her. She left the persona that made her loved throughout America behind and took on a completely new character. I now realize this is impressive, but even without that context this performance knocks my socks off.

If you have been reading my Oscar posts, you have probably picked up on the fact that Ordinary People has been on every single one. I love this movie so much and part of the reason why is that it highlights grief in a painfully realistic way. It takes a no bullshit approach to illustrating the fact that everyone grieves differently and sometimes we don’t understand the form that grief takes in other people.

Beth Jarrett’s grief makes her cold, distant, and apathetic toward her family. She is not understanding of the different ways that her husband and son experience their grief. In the film she is painted somewhat like the bad guy and it’s hard not to see her that way. But that is part of what makes this movie so amazing, she is in no way the villain. Her grief is simply different.

The way that Moore portrays this throughout the movie is heartbreaking. She is driven by the desire to appear put together and normal. She doesn’t want to dwell on the sadness or even acknowledge it at all, instead there is a desire to move past it as if it never happened. The fact that her family is so outwardly grieving this loss destroys this image that she is crafting for not only others, but herself. This fracture of her attempted normalcy allows for her own grief to shine through the cracks. Her anger and denial and lack of sympathy toward the reactions her family is having begins pouring out. Moore delicately communicates these feelings with and without words when needed, eliciting an intense frustration from you as you watch.

Being tasked with portraying grief is not easy, but having to portray someone pushing their sorrow and pain down is even harder. It requires a nuanced performance that Moore nails in this film. To accomplish such an effective performance and leave a lasting emotional impact on viewers is more than deserving of an Oscar. In my opinion anyway.

3. Best Supporting Actor – 1993

Who Won: Tommy Lee Jones as Samuel Gerard in The Fugitive

Who Should Have Won: Ralph Fiennes as Amon Goeth in Schindler’s List

*Takes a deep breath*

This is hands down the most disappointing Oscar decision ever made in an acting category. It frustrates and maddens me every time I think about it.

I could literally go on and on about this decision, but I will resist. Instead, please see my rant in the post I wrote highlighting the Best Supporting Actor category for more.

I have nothing more to say besides, why? And sorry Tommy Lee Jones, I love you, but you know this was wrong.

2. Best Picture – 2010

Who Won: The King’s Speech

Who Should Have Won: The Social Network

Let me start by saying that The Social Network is unequivocally my favorite movie of all time. It is impossible for me to be neutral about this movie when every aspect of it gives me butterflies.

If you haven’t already noticed, we are knee-deep in the emotional entries on this list.

This year’s victor, The Kings Speech, is the type of movie that gets nominated but ultimately doesn’t win. This is no knock on the performances and the quality of the movie itself, it was truly as good as it could have been considering the content. The nomination is a wonderful acknowledgement of what it achieved, but a win feels like too much for the story this film tells and how it tells it.

On the other hand The Social Network is a work of screenwriting genius. It is Aaron Sorkin doing some of the best work he has ever done in a career full of amazing writing. The soundtrack is undeniably well-made and fits into the film perfectly. The performances are all over the place in the most amazingly calculated way. Eisenberg is hyper-verbal and twitchy, Garfield is emotive and charming, Timberlake is utterly hatable and exhausting, and Hammer (x2) is the perfectly pompous foil to it all. Every moment is humming with confident genius in the same way that Mark Zuckerberg was when he came onto the scene.

David Fincher manages to direct an orchestra of chaos that results in a beautiful, impactful film that continues to say more and more as it ages.

Just like All The President’s Men before it, The Social Network upped the ante for what I knew a movie was capable of being. It’s literally a movie about a social networking site and every moment of it is more well crafted and more engaging than the movie about England’s king overcoming a speech impediment.

The fact that this unfolded in the way that it did is a punch to the stomach that only gets more painful as time passes.

1. Best Picture – 1998

Who Won: Shakespeare in Love

Who Should Have Won: Saving Private Ryan

You saw this one coming, right?

Frustration and shock are the emotional reactions that I had to most of the snubs on this list, but this one brought out only anger in me. It is this anger that drives this snub all the way up to the top of this list.

It goes without saying that Saving Private Ryan is a difficult film to watch. The opening moments are horrifying and the ending is heartbreaking. But the tough subject matter and brutal portrayal doesn’t take away from the fact that this movie is a work of art all the way through. From the mastermind that is Steven Spielberg, we were gifted with the war movie of all war movies. It stands tall in his filmography as one of his greatest achievements which is an impressive feat considering his dazzling career.

For a film like this that was commercially, critically, and artistically so successful to lose to a comedy about a fictional love affair between Shakespeare and Gwyneth Paltrow? Oh, it makes me furious just typing it out.

I saw Saving Private Ryan first. Similar to Brokeback Mountain, I had heard the hype leading up to my first viewing. And in the same way, it could never have fully prepared me for the rollercoaster this film takes you on. It is all at once beautiful and disgusting. It puts on display the best and worst humanity has to offer. While I have heard the arguments about this being a film glorifying the military, I choose to see a film that glorifies the kindness and goodness still left among us. When I saw this movie, I was moved. It is a film that’s impact is lifelong. Even though it’s been years since I have seen it, I still remember nearly every bit of it, as if it were tattooed on my brain.

When I watched Shakespeare in Love, I was seething the entire time. With each passing second I could not believe that this was the film to beat out Saving Private Ryan at the Oscars.

Even in a bad Oscar’s year it would be shocking to see this movie take home the big prize. Historically, the Academy strays away from awarding lighter-hearted films that make us laugh instead opting for intense dramas that make us feel. It feels strange to see them stray from this mold during a year when that intense drama was such an undeniably miraculous film.

Quality of film and inconsistency of the Oscar’s aside, the most infuriating factor in all of this is the ominous shadow of Harvey Weinstein. The now disgraced film executive was the driving force behind this movie’s Oscar campaign and is often credited as the figure responsible for it’s victory. It’s eerie and unsettling to think about the weight and influence he carried in the industry. The impact of his presence is written in the history books with this secured victory.

It is widely known and believed that this is the most abhorrent oversight in the history of the Academy. Nearly everyone I know – from fellow movie lovers to casual viewers – is aware of this scandal. Yet history is written in pen, not pencil and unfortunately for the Saving Private Ryan of it all, Weinstein was guiding the hand that etched this moment in time.

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Just a note that it is insane to me that Julie Andrews won Best Actress for Mary Poppins and not Sound of Music. The Oscars are so weird.