The Academy isn’t just a couple of guys who watch every movie released within a year. It’s a collective of over 10,500 global film industry artists and leaders, so there’s bound to be wildly varied opinions on what is and what isn’t nomination-worthy. What one person considers great, another might find pandering and vice versa. That’s why in the nearly 100 years the Academy has been in existence, they’ve messed up as many times as they’ve gotten it right. The amount of iconic directors who were overlooked, big screen superstars who were ignored, and all-time classics that received no love is so big, they form an unofficial group called the “Snub Club.” Honorary members include Alfred Hitchcock, Stanley Kubrick, The Shawshank Redemption, Charlie Chaplin, E.T. the Extra-Terrestrial, Glen Close, Saving Private Ryan and many, many others. After the list of 2024 nominees was revealed, The Snub Club received two new members: Greta Gerwig and Margot Robbie for Barbie. The internet was so incensed by their lack of nominations that it completely dominated the conversation. While shocking, it’s not that surprising considering the strength of that year. They weren’t snubbed, there was just a glut of talented directors and actresses that year. This list will highlight true snubs that should’ve gotten a nom (and probably should’ve won) but didn’t.
These are the 100 Biggest Oscar Acting Snubs of All Time.
20. Alec Baldwin | Glengarry Glen Ross (1992)
A performance so iconic, so career-defining, you could be forgiven for thinking he was not only in the entire movie but was the main character. Written specifically for the actor by Mamet, the role is unique to the film adaptation as there is no Blake in the original stage play. The most quotable part of the film, the thing most people remember about the movie wasn’t even in the play. That goes to show how good a writer Mamet is (that he can somehow improve upon an already successful story) but a true testament to the talents of Baldwin, in that Mamet not only knew he could do it but was good enough to be gifted such a bounty of rich dialogue. “Second prize, a set of steak knives. Third prize is, you’re fired.” The fact that Judi Dench won for Shakespeare in Love, a role that was of equal length but markedly inferior in quality, and Baldwin wasn’t even nominated for this is a goddamn travesty. This is more than a cameo, it’s one of the greatest performances in cinema, that just happens to only last eight minutes.
19. Rosalind Russell | His Girl Friday (1940)
As the quick-witted and determined newspaper reporter Hildy Johnson, Russell showcases her impeccable comedic timing, sharp intellect, and undeniable charisma, solidifying her status as one of Hollywood’s most talented leading ladies. Screwball comedies with rapid-fire dialogue are about the hardest things to pull off but Russell (along with her co-star Cary Grant) makes it seem effortless. As a woman working in a predominantly male profession, Hildy defies gender norms of the time, effortlessly holding her own in the fast-paced, male-dominated world of journalism. Russell infuses the character with a blend of confidence, sass, and vulnerability, creating a multi-dimensional protagonist who is as relatable as she is endearing. One of the highlights of Russell’s performance is her electrifying chemistry with co-star Grant, who portrays her ex-husband and editor, Walter Burns. The machine gun-like banter and playful sparring between Hildy and Walter serve as the heartbeat of the film, showcasing Russell’s ability to match Grant’s wit and charisma beat for beat. Their on-screen partnership is proof positive that Russell could effortlessly hold her own opposite one of Hollywood’s most iconic leading men.
18. Reese Witherspoon | Election (1999)
Reese Witherspoon delivers a career-defining performance as Tracy Flick, a high school overachiever with an insatiable drive for success. With razor-sharp wit, impeccable timing, and unwavering determination, Witherspoon brings the character of Tracy to life in a way that is both captivating and unforgettable. Her portrayal of a seemingly perfect student whose ambition borders on obsession, is pitch-perfect. Witherspoon masterfully captures Tracy’s Type-A personality, portraying her as a relentless force of nature driven by a desire to win at all costs. Whether she’s delivering impassioned campaign speeches or engaging in ruthless acts of manipulation, Witherspoon imbues Tracy with a blend of confidence, charm, and underlying vulnerability that makes her character both compelling and complex. Beneath Tracy’s facade of perfection lies a young woman grappling with insecurities and doubts, struggling to reconcile her insatiable drive for success with the harsh realities of the world around her. Witherspoon navigates this dichotomy with finesse, infusing Tracy with depth and humanity that transcends the typical high school caricature. Her performance elevates Election from a mere comedy to a poignant exploration of ambition, morality, and the pursuit of success.
17. Gene Kelly | Singin’ in the Rain (1952)
Solidifying his status as one of the greatest dancers and performers in the history of cinema, Gene Kelly’s performance in Singin’ in the Rain is nothing short of iconic. As Don Lockwood, a charismatic and talented silent film star navigating the transition to talking pictures, Kelly showcases his unparalleled athleticism, charm, and charisma in a role that has become synonymous with the golden age of Hollywood musicals. It’s impossible not to be in awe of his unnatural abilities every time he’s on screen. Kelly captivates audiences with his effortless grace and boundless energy. In the iconic title number, he joyfully dances and sings in the rain, exuding a sense of pure exuberance and delight that is infectious. Kelly’s athleticism and precision are on full display as he seamlessly combines singing, dancing, and physical comedy in a performance that remains one of the most memorable moments in cinematic history.
Kelly’s chemistry with his co-stars, including Debbie Reynolds and Donald O’Connor, is palpable throughout the film. In scenes such as the playful “Good Morning” number and the dazzling “Moses Supposes” routine, Kelly effortlessly leads his fellow performers with a sense of camaraderie and mutual respect, creating a dynamic and engaging on-screen ensemble. But even if it was a one-man show, his fancy footwork would be enough. Whether he’s expressing joy, heartache, or determination, Kelly’s expressive dance style allows him to communicate with audiences on a visceral level, transcending language barriers and reaching straight to the heart.
16. Jeff Bridges | The Big Lebowski (1998)
With his laid-back demeanor, penchant for White Russians, and unforgettable wardrobe of bathrobes and sandals, Bridges creates an iconic character who has become synonymous with slacker cool and countercultural charm. Bridges effortlessly embodies the spirit of The Dude, a stoned and unemployed bowling enthusiast who finds himself embroiled in a bizarre kidnapping plot. With his unkempt hair, five o’clock shadow, and squinting eyes, Bridges captures The Dude’s Zen-like approach to life, portraying him as a man who is content to drift through life’s absurdities with a sense of detached amusement. One of the most remarkable aspects of Bridges’ performance is his ability to infuse The Dude with a sense of warmth and humanity that transcends his stoner persona. Despite his flaws and quirks, The Dude possesses a deep sense of loyalty and integrity, and Bridges conveys these qualities with subtlety and nuance. Whether he’s standing up for his friends, defending his beloved bowling alley, or simply trying to recover his stolen rug, Bridges imbues The Dude with a sense of dignity and decency that makes him an instantly relatable and endearing protagonist. He’s the funniest, most quotable character of any comedy released within the last fifty years and he’s far and away the best thing the Coen Bros. ever created. Which is saying a lot.
15. Marilyn Monroe | Some Like It Hot (1959)
In lesser hands, the role of Sugar Kane Kowalczyk would be just another ditsy blonde. The comedic sex bomb that propels the plot and adds nothing but eye candy. But in Marilyn’s hands, it becomes one of the greatest movie characters of all time. An argument could be made that she’s not really acting, that the role was tailor-made for her and I wouldn’t necessarily disagree but who could’ve done it better? From the moment she first appears on screen, Monroe commands attention with her luminous beauty, radiant smile, and breathy voice. As Sugar, she exudes a sense of innocence and vulnerability that belies her bombshell persona, drawing audiences in with her irresistible charm and charisma. Monroe’s comedic timing and natural grace shine through in every scene, as she effortlessly navigates the film’s witty dialogue and slapstick humor with aplomb. One of the most memorable aspects of Monroe’s performance is her musical talent, showcased in her unforgettable renditions of songs like “I Wanna Be Loved By You” and “I’m Through With Love.” With her honeyed vocals and sultry stage presence, Monroe captivates audiences with her sensual allure and undeniable talent, leaving a lasting impression that lingers long after the credits roll.
14. Toni Collette | Hereditary (2018)
Some horror films live and die by their premises. They ask the audience to believe a guy can kill you in your sleep or that a little boy can see ghosts. Some horror films live and die by their villain. Others by how much sex and violence they promise. And a few live and die by the performances. Hereditary would not have worked if the lead was weak. The character of Annie needed an actress who could run the full gamut of emotions, could inspire sympathy and disgust in the audience. You needed to believe her but there also needed to be doubt. Is she crazy or is something malicious happening to her family? Hereditary is a perfect example of a film being completely dependent on the strength of the central character and Toni Collette knocks it out of the park. She gives one of the best performances in any horror film to date.
13. Sean Penn | Fast Times at Ridgemont High (1982)
Sean Penn has become one of our greatest dramatic actors, which is ironic considering his best performance is comedic. With his laid-back surfer persona, infectious energy, and impeccable comedic timing, Penn steals every scene he’s in, leaving an indelible mark on the film and cementing his status as a cultural icon. Much like Jeffrey Lebowski, Jeff Spicoli is a perpetually stoned and perpetually carefree slacker who drifts through life aimlessly but the key difference is their ages. Bridges nails the ex-hippy with a hangover and Penn fully embodies the surf-obsessed party animal teen. Both are tremendous performances but I give this one the slight edge simply because it came out first. From his distinctive mannerisms and speech patterns to his signature catchphrases like “All I need are some tasty waves, a cool buzz, and I’m fine.” Penn fully embraces Spicoli’s laid-back attitude and devil-may-care outlook on life, delivering each line with a sense of irreverence and spontaneity that feels entirely genuine. Beyond Penn’s individual performance, Fast Times at Ridgemont High itself has become a cultural touchstone, capturing the zeitgeist of the 1980s with its irreverent humor, memorable characters, and iconic soundtrack. Penn’s portrayal of Spicoli has left an indelible mark on popular culture, inspiring countless imitations, references, and homages in the decades since the film’s release.
12. Ben Kingsley | Sexy Beast (2000)
The “one last job” cliche is as old as the genre that constantly uses it. It’s the dream of every thief and gangster within the crime genre but none actually achieve it except for Ray Winstone’s Gal in Sexy Beast. He’s an ex-safe cracker who’s happily married and happily retired, living the life until a giant boulder crashes into his pool, disrupting everything. That boulder is what screenwriters refer to as a “visual metaphor” because shortly after that, an even bigger nuisance is about to crash into Gal’s life.
And that nuisance is the arrival of Don Logan. He’s coming with a job offer and won’t leave until he convinces Gal to do the job. He’s what would happen if you were to merge a chihuahua with a pit bull and had Joe Pesci teach it how to speak. Ghandi may be the film Kingsley will forever be associated with but this is easily his best performance. He’s an unpredictable sociopath that can and will do anything at any given moment, which is made all the more terrifying when you remember that it’s fucking Ghandi on screen.
11. Eli Wallach | The Good, the Bad and the Ugly (1966)
Wallach in The Good, the Bad and the Ugly is a perfect performance and is the textbook definition of a scene stealer. Sergio Leone meticulously crafted an epic the scale of which no other spaghetti western dared. It’s a sprawling film with a long runtime and huge set pieces but the thing that’ll stick with you (besides the score), is Tuco Benedicto Pacifico Juan Maria Ramirez, famously known as “The Ugly.” He’s a volatile, cunning, and yet strangely endearing bandit that teams up with Clint Eastwood to look for a cache of buried gold and even though you know he’s not going to end up with it, you secretly want him to. He double-crosses everyone he works with and would most likely kill Blondie (Eastwood) the second he gets the gold, but there is something about him that makes it impossible to not root for. He may be a ruthless outlaw driven by self-preservation and greed, but Wallach ensures that he remains inherently human, with vulnerabilities and moments of genuine empathy. Whether engaging in intense gunfights, navigating treacherous landscapes, or engaging in witty banter with his fellow protagonists, Wallach makes sure that you never see him as a villain or an offensive stereotype. Brown face is an outdated relic of the times that is indefensible but there’s something about Wallach that makes for a great Mexican. For some reason, he played a bunch of them even though he was a white Jew from New York. He definitely wouldn’t get cast in those roles today but thank God he did then because he’s great at it and this is the best he’s ever been.
30-21 | 10-1
What do you think of the selection so far? Which Oscar snubs do you think are the most egregious? Maybe they will show up further on the list!
