'Return of the King' and 13 More Best Picture Winners That Are Totally Overrated

Theoretically, the Best Picture Oscar should be the definitive take on the best movie in any given year. In practice, the Academy isn't always great about choosing the most deserving candidate. 15 years after the Oscar-hoarding "Return of the King" hit theaters, let's look back at some of the movies that probably didn't deserve their Best Picture wins.

'Gentleman's Agreement' (1947)

By the standards of its time, "Gentleman's Agreement" must have seemed like a very progressive and forward-thinking film. In hindsight, it's a painfully dull and downright bland look at a journalist going undercover as a Jewish person in order to expose racial prejudice. Even Gregory Peck can only do so much to spice up this drama.

'Around the World in 80 Days' (1956)

No one's arguing that "Around the World in 80 Days' isn't a fine adaptation of the Jules Verne novel or a fun time at the movies. It just doesn't seem much like Best Picture material in a year where the likes of "The Ten Commandments" was competition. It's too light and shallow an experience to deserve that level of acclaim.

'Ordinary People' (1980)

The Academy clearly fell in love with Robert Redford's directorial debut, showering with awards including Best Picture, Best Director, and Best Adapted Screenplay. Nearly 40 years later, it's a little tough to see what the fuss was all about. Sure, it's a good drama with a stellar cast. But it's certainly not "better-than-'Raging-Bull'" good.

'Chariots of Fire' (1981)

There are exactly two things most people about "Chariots of Fire" nowadays: slow-motion running on the beach and that Vangelis score. That's it. One iconic scene does not an Oscar-winning movie make.

'Gandhi' (1982)

It's hard to argue that Sir Ben Kingsley didn't earn his Best Actor Oscar for his electrifying performance in this biopic. But that alone doesn't quite justify the undue attention "Gandhi" enjoyed at the 1983 Academy Awards. As time has ed, more and more critics have recognized that the film presents a sanitized, even hagiographic depiction of a very complicated historical figure.

'Driving Miss Daisy' (1989)

If there's any sub-genre of film that seems to do the worst job of holding up over time, it's the "Oscar-winning drama about battling racism." Case in point, "Driving Miss Daisy" is a perfectly enjoyable story about an elderly woman bonding with her African American driver over the course of 25 years, but it's also sappy and simplistic to a fault. It's hard to see what had Academy voters so enamored back in 1990.

'The English Patient' (1996)

Is there a clearer example of Osbar Bait than "The English Patient." On a technical level, it's a very accomplished film. It's a lavish historical romance with some very talented actors to help bring it to life. But despite winning nine Oscars, it's a film that's been all but forgotten in the two decades since.

'Shakespeare in Love' (1998)

How this farcical romance during the age of Shakespeare beat "Saving Private Ryan" for Best Picture is still something that hurts our brains.

'A Beautiful Mind' (2001)

Back in the early 2000s, the Academy clearly had a case of Russell Crowe fever. We can understand the love for 2000's "Gladiator," but less so with this 2001 follow-up. Its stereotypical "tortured genius" formula plays fast and loose with the real facts of the life of mathematician John Nash.

'The Lord of the Rings: The Return of the King' (2003)

The Academy basically ignored the "Lord of the Rings" trilogy until the very end. The result being that "Return of the King's" record-tying Oscar haul seems a bit like voters were overcompensating. We love these movies as much as the next fantasy geek, but did "Return of the King" really deserve Best Picture while "Fellowship of the Ring" got zilch?

'Crash' (2004)

Here's another case where a major Hollywood drama tripped over itself trying to explore the complexities of racial inequality in modern America. "Crash" had its share of detractors at the time, and nowadays it's downright despised by many film buffs. It certainly didn't deserve its Best Picture win.

'The Artist' (2011)

"The Artist" is a direct throwback to a much earlier era of moviemaking, opting for a silent, black and white format in order to convey the romance between two struggling actors at the dawn of the talkie. It's a fun homage to a simpler time, but it's hard not to look back and feel that it was given way too much credit for its old-school aesthetic.

'Argo' (2012)

"Argo" offers an engrossing and surprisingly entertaining look at a dangerous rescue mission set against the backdrop of the Iranian Revolution. That doesn't necessarily mean it's Best Picture-worthy. This is another case of a sanitized historical drama getting a bit more love than it really deserved from the Academy.

'Birdman' (2014)

Sometimes we wonder if "Birdman" won Best Picture simply because the Academy was thrilled to finally have a superhero movie it felt comfortable recognizing. The cinematography in this drama is terrific, what with the faux-single shot approach. And "Birdman" is also notable for reminding everyone what a terrific actor Michael Keaton still is. But with a mostly empty story and its thinly veiled contempt for film critics, "Birdman" is ultimately too hollow of an experience to hold up well.