We’re sure that winning an Academy Award is one of the highest honours an artist in the field of film could ever hope for. And it hardly needs to be said that a fair few great flicks have been recognised by the Academy over the years. However, the list of movies to lose on Hollywood’s night of nights is even more impressive than the list of victors. In anticipation of next week’s Oscar ceremony – where the totally pleasant rom-com The Artist will surely triumph over the far more deserving Midnight in Paris, Hugo, and Terrence Malick‘s masterpiece The Tree of Life –  we’re celebrating the finest Best Picture losers in the Academy Awards’ 84-year history. We hope their recognition here is an acceptable substitute for that shiny gold man – although deep down we know it definitely isn’t.

Don’t miss our Oscar Live-Blog on Monday, February 27. Details here!

10. Taxi Driver, All The President’s Men, Network 

We’re kicking off this list with a tie (read: a cheat). In the bloodbath of 1977, Martin Scorsese‘s devastating social satire Taxi Driver, Alan J. Pakula‘s masterful political thriller All the President’s Men, and Sidney Lumet‘s eerily prescient and freakishly funny Network all succumbed to the Philly boxer Rocky. That is one tough year.

9. Chinatown

Chinatown didn’t stand a chance against The Godfather Part II, but Roman Polanski‘s 1974 film noir is chilling, occasionally confounding, and endlessly entertaining. If it weren’t up against, well, The Godfather Part II, it would have surely won.

8. Raiders of the Lost Ark

Although no one will dispute its unparalleled awesomeness, some may not think Steven Spielberg‘s rollicking Indiana Jones flick deserved to wear the Best Picture crown. Consider that it lost to Britain’s Chariots of Fire, a film almost exclusively remembered for its score. Just because a film isn’t a drama – and is perhaps a comic action-adventure – doesn’t mean it can’t be the best movie of the year.

7. Goodfellas

In one of the most notorious Oscar flubs in history, the Academy decided not to reward Martin Scorsese (yet again!) for his gangster epic Goodfellas, in favour of Kevin Costner‘s opus Dances with Wolves. At least Joe Pesci won Best Supporting Actor, and offered up the second shortest speech in the telecast’s history: ‘Well, it’s my privilege. Thank you’. Pay attention, Melissa Leo!

6. Sunset Boulevard

It’s ironic that The Artist, the tale of a silent film actor’s waning stardom, looks set to win the top prize on Monday, considering the similarly themed (and superior) Billy Wilder classic Sunset Boulevard failed to do so itself (cut it some slack; it was up against All About Eve). Even crazier, The Artist’s other big inspiration – Singin’ in the Rain - didn’t even get a Best Picture nomination!

5. Fargo

The Academy would eventually right their wrongs and give the Coen brothers’ Best Director and Best Picture for No Country for Old Men. But not all the retroactive recognition in the world can undo the tragedy of 1996, when their brilliant Fargo lost out to The English Patient. ‘Oh yah?’ Oh no.

4. Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb

Stanley Kubrick‘s films were famously snubbed time and time again, but the worst instance of this is when his blistering war comedy Dr. Strangelove was bested by … by … it’s hard to even say it … My Fair Lady.

3. Pulp Fiction

In this writer’s opinion, Quentin Tarantino‘s Inglourious Basterds should have won Best Picture back in 2009, but that was a competitive year and a very good film (The Hurt Locker) reigned instead. However, the Academy’s decision to shun the director’s second film, Pulp Fiction, back in 1994 is one of their all-time greatest mistakes. Sure, he and Roger Avery scored a Best Original Screenplay Oscar for their troubles. But Tarantino changed the entire movie-making game with Fiction, whereas winner Forrest Gump did little except convincingly cut-off Gary Sinise‘s legs.

2. Citizen Kane

Orson Welles‘ Citizen Kane lost to How Green Was My Valley at the 14th Academy Awards, and is likely the example cited by every BP also-ran for the past 70 years.

1. The Red Shoes

Michael Powell and Emeric Pressburger‘s The Red Shoes is, quite possibly, the greatest movie ever made. Moira Shearer stars as a talented ballet dancer who must choose between ambition and love, and is eventually driven mad (much like the shoe-coveting character she portrays in the play-within-the-film). This British treasure lost to another UK production in 1949: Laurence Olivier‘s Hamlet.  But The Red Shoes’ centrepiece – a 17-minute ballet sequence that explodes through the fourth wall – deserved to win Best Picture on its own.

Honourable mentions, in alphabetical order, include: (Deeeeeeeeep breath) 12 Angry Men, Apocalypse Now, Brokeback Mountain, Dog Day Afternoon, Double Indemnity, The Exorcist, Good Night and Good Luck, Jaws, The Last Picture Show, The Maltese Falcon, Nashville, The Shawshank Redemption, The Social Network, There Will Be Blood, To Kill A Mockingbird, and The Wizard of Oz.

An extra special mention to the films that didn’t even GET a Best Picture nod in the first place: 2001: A Space Odyssey, Boogie Nights, Die Hard, Do The Right Thing, Eternal Sunshine of the Spotless Mind, The Good The Bad and The Ugly, Mulholland Drive, Ratatouille, Seven Samurai, Vertigo… there are so many more.

Reminder: Don’t miss our Oscar Live-Blog on Monday, February 27. Details here!

Discuss: What is your favourite Oscar loser?

Jason Biggs, Alyson Hannigan, Seann William Scott, Chris Klein, Tara Reid, Thomas Ian Nicholas, Eddie Kaye Thomas, Mena Suvari and Natasha Lyonne all reprise their roles from the original American Pie trilogy, reuniting for their high school reunion.

Fear not, AP superfans (we assume there are some out there): Stifler’s mum (Jennifer Coolidge) and Jim’s dad (Eugene Levy) indeed return for some frisky action themselves.

Check out the trailer (courtesy of Yahoo) and share your thoughts below!

American Reunion – written and directed by Jon Hurwitz and Hayden Schlossberg - hits Australian cinemas April 5, 2012.

Discuss: Are you keen to go back for another slice?

According to Deadline, Wright will direct The Night Stalker for Disney. It is a remake of a 1972 telemovie of the same name, which was later followed by a sequel and a spin-off TV series.

The studio wants Johnny Depp – who is also producing – to star as tabloid reporter and supernatural investigator Carl Kolchak.

Discuss: We’re intrigued!

WAAPA graduate Courtney, who had minor stints in All Saints and Packed to the Rafters, most recently starred in Spartacus: Blood and Sand alongside fellow Aussies Viva Bianca and the late Andy Whitfield.

A Good Day to Die Hard sees McClane (Bruce Willis) heading to Moscow where he must get his troubled son out of jail.

It was originally rumoured that Liam Hemsworth, Aaron Paul, Ben Foster, Paul Dano, Milo Ventimiglia and Paul Walker were in the running for the role of McClane Jr.

The film, directed by John Moore, is set to hit cinemas February 14th, 2013.

Discuss: A good choice?

This time, he’s raised the ire of the Academy. The comedian was planning on attending the Oscars – he is invited as a cast-member of Hugo - dressed as his latest comic creation, The Dictator.

When news of his plan leaked, Deadline reported that Cohen’s tickets to the ceremony had been revoked.

The Academy has since informed The Hollywood Reporter that isn’t the case, and they are merely “waiting to hear what he’s going to do” before taking any action.

Cohen’s plan is to only appear in costume on the red carpet, changing into a tuxedo for the remainder of the ceremony.

Though the Academy’s unwillingness to allow Cohen to dress up may sound draconian, their reasoning is understandable. They have a history of excluding “studio-specific film promotion” from its telecasts. That being said, what else are the Oscars but “studio-specific film promotion”.

Discuss: Should he be allowed to do what he wants?

Directorial debuts are rarely as brutal or furious as Paddy Considine’s Tyrannosaur. The reasoning behind that title becomes apparent late in the piece, but even if no explanation was given, it perfectly evokes the ferociousness of its lead character. Peter Mullan stars as Joseph; we’re introduced to him in the middle of a blind rage, during which he accidentally (or rather, uncontrollably) kicks his dog to death. Joseph temporarily feels remorse, but it isn’t long before his insatiable hatred for everyone resurfaces, even after the buzz of alcohol has worn away. The only person who doesn’t send him into a baseball-bat toting frenzy is Christian shop worker Hannah (Olivia Colman). She treats him with kindness; an act Joseph can barely fathom considering his abrasive personality. However, after discovering the horrible truth about her home life with abusive husband James (Eddie Marsan), Joseph realises that to Hannah he’s merely the lesser of two evils, and maybe that’s as close to a good person he’ll ever be.

Tyrannosaur is a movie about compromise, which is ironic considering Considine’s inability to compromise as a director (his camera does not shy away from the shocking moments). It’s about the compromises Joseph must make; even though he reveals he’s just ‘not a good person’, he might be the best person for Hannah. It’s about the compromises Hannah fails to make; when simple prayer can’t save her, she thinks she’ll find her salvation with some less-than-holy actions, and must deal with the consequences. Mullan and Colman put it all on the line for Considine; also rare for a first time writer/director to achieve from his cast, but perhaps his ability to sympathise as a fellow actor helped them, Cassavettes-style, to lower their guards. Marsan similarly gives a bold performance (he always does), but his character almost crosses the line of believability. Considine seems to have gone a little over the top in writing James; relishing his outrageous awfulness. Even though the film traffics in inexplicable human cruelty, this character seems more like a Bond villain than a socio-realist depiction of a violent husband.

Not a pleasant viewing experience by any stretch of the imagination, and perhaps a little too on-the-nose at times, Tyrannosaur is nonetheless a visceral roar of a debut feature from Considine. As an actor, you can’t take your eyes off of him. Good to see that he’s got that electricity behind the camera too.

3.5/5

Check out Simon’s other reviews here.

Tyrannosaur is now showing exclusively at the Cinema Nova in Melbourne.

The film, penned by and starring Jane Turner and Gina Riley, sees Australia’s favourite Fountain Lakes residents travel overseas only to find themselves in the middle of their very own fairytale.

Formerly known as The Kath and Kim Filum, series regulars Glenn Robbins, Peter Rowsthorn and Magda Szubanski are all back in addition to a host of guest stars which will be revealed closer to the film’s release.

On their silver screen debut Kath said, “I have been up to pussies bow working out what to wear for the Oscars next year, do I go ritzy or tizzy, indie…”, while Kim said “I was made for the widescreen and like Avatar I will be working blue.”

Kath & Kimderella was shot in Melbourne and on location in Positano, Italy.

Discuss: Noice?

According to Bloomberg, Paramount Pictures is suing Anthony Puzo for attempting to publish a sequel to his father Mario’s legendary novel The Godfather.

Mario Puzo’s original text was the basis of Francis Ford Coppola‘s feature film adaptation, considered one of the greatest pictures of all time. Puzo went on to co-wrote two sequels (The Godfather Part II and The Godfather Part III) with Coppola.

Studio Paramount feel Anthony is tarnishing the legacy of their films, as well as his father’s work.

Paramount gave the go ahead to a single Godfather sequel in 2004, entitled The Godfather Returns. Anthony authorised the publication of another novel, The Godfather’s Revenge, two years later without the approval of the studio. Another unauthorised sequel, The Family Corleone, is set for release later this year.

Discuss: Should the Puzos be allowed to publish a new novel?

There are no details on his role at this time, but we presume he will play someone manly.

Julianne Hough (Footloose) stars as an evangelical young woman who loses her faith after a plane crash, and heads to Las Vegas to embrace decadence. Russell Brand has been cast as a bartender recovering from addiction, whom Hough’s character befriends in Vegas.

The Help‘s Octavia Spencer also features in the film.

Cody won an Oscar for writing the screenplay for Juno. She most recently penned Young Adult for Jason Reitman.

Discuss: Where on the Ron Swanson Pyramid of Greatness does this news register?

The flick features a “Romeo and Juliet-style love story”, with Mexico’s Day of the Dead celebrations acting as a backdrop.

Jorge R. Gutierrez will write and direct the project, which is set for a 2014 release. Animation studio Reel FX is in charge of bringing the tale to life.

Del Toro previously produced Puss in Boots and Kung Fu Panda 2.

Discuss: Intrigued?