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.
30. Sacha Baron Cohen | Borat! Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)
At first glance, it may seem insane to have Borat this high on the list but honestly, can you name a more committed comedic performance? Sacha Baron Cohen’s portrayal of the character Borat Sagdiyev is not only comedic but also a deeply satirical exploration of cultural stereotypes, societal norms, and political commentary. The film follows Borat, a fictitious Kazakhstani journalist, on a journey across the United States as he interacts with real people, often exposing their prejudices and ignorance. While the social commentary and quotable lines are great, what makes the film is Sacha Baron Cohen’s remarkable performance as the titular character. His commitment to character is unparalleled, as he fully immerses himself in Borat’s persona, often leading unsuspecting individuals into hilariously uncomfortable situations. The character of Borat serves as a vehicle for exploring themes of xenophobia, racism, and cultural misunderstanding. By embodying the stereotype of the “foreign other,” Cohen invites audiences to confront their own biases and assumptions, while also shining a light on how stereotypes shape our perceptions of others. He’s more than just a meme, he’s a mirror that reflects the ugliness of those he encounters.
29. Catherine Deneuve | Belle de Jour (1967)
Directed by the iconic Luis Buñuel, Belle de Jour stands as a masterpiece of French cinema, with Catherine Deneuve’s portrayal of Séverine Serizy at its heart. Her performance is a mesmerizing exploration of desire, repression, and fantasy. In the film, Deneuve’s character, Séverine, is a seemingly content housewife who harbors secret desires and fantasies. Married to a handsome but conventional doctor, she finds herself drawn to the world of illicit pleasure and explores her sexuality through a double life as a high-class prostitute. Deneuve navigates the character’s complex psyche with grace and subtlety, portraying her as both vulnerable and enigmatic. Séverine’s journey from repression to liberation is reflected in Deneuve’s nuanced portrayal, as she deftly captures the character’s inner conflict and eventual awakening. One of the film’s most memorable scenes takes place in a brothel, where she is subjected to various fantasies and fetishes. Deneuve’s performance in this scene is both captivating and unsettling, as she immerses herself in the role of a woman torn between desire and guilt. In the hands of a lesser actress, the character could easily veer into caricature or melodrama. However, Deneuve brings a depth and complexity to the role that transcends the confines of the script, creating a timeless portrait of a woman grappling with her own desires and societal expectations. It’s a layered, nuanced performance that takes a fearless actress to tackle and Catherine Deneuve proved for all time that she isn’t afraid of anything.
28. Charlize Theron | Mad Max: Fury Road (2015)
Redefining the term “epic”, Fury Road is George Miller’s third sequel in his Mad Max series, and boy howdy is it a doozy. Mirroring Max’s slow descent into madness in the first one, the series gets progressively more out there with each installment until it hits its autogeddon apex with this movie. As close as any film has come to non-stop action; it’s essentially a two-hour car chase but bigger and more bombastic than any before or since. In addition to the balls-to-the-wall excitement, there’s the cast that’s as hot as the desert they’re filming in.
Tom Hardy does a magnificent job of replacing Mel Gibson and Hugh Keays-Byrne is fucking great as the villain but the real MVP is Charlize Theron. With just one movie, she made Furiosa a character as iconic as Max himself. You immediately understand her motivations and without knowing anything about her, you root for her to succeed. Unlike Max who’s character arc ended after the first movie, Furiosa has an actual goal you care about. She’s a badass warrior who’s fighting for more than just revenge or survival, she’s a savior who’ll risk her life to save others. In addition to being the best thing in the movie (which is saying a lot), she’s the best character in the franchise. Miller clearly loves her so much that we’re getting a prequel about her this year.
27. Henry Fonda | 12 Angry Men (1957)
On AFI’s 100 Years…100 Heroes and Villains list, Juror #8 ranked higher than every superhero except for Superman, who he was only two spots behind. Pretty impressive for a character who we never see leave a room and does nothing but listen and talk but as the film shows, true heroics don’t always require a man saving the planet from an extraterrestrial force bent on annihilation, it can be as small as convincing a room full of people that a man they all assume is guilty, might actually be Innocent. In Sidney Lumet’s timeless classic 12 Angry Men, Henry Fonda delivers a tour de force performance as Juror 8, a calm and thoughtful man who stands alone against the tide of prejudice and presumption in a tense jury room. Fonda’s portrayal of Juror 8 is marked by a quiet strength and unwavering commitment to justice. From the moment he casts his initial vote of “not guilty” in the murder trial they are tasked with deciding, Fonda’s character becomes a beacon of reason and integrity in a room filled with anger and impatience.
Throughout the film, Fonda’s Juror 8 serves as the moral compass, challenging his fellow jurors to question their assumptions and examine the evidence with an open mind. His measured demeanor and rational arguments gradually sway the opinions of his peers, highlighting Fonda’s ability to command attention without resorting to grandiosity or theatrics. As the deliberations progress and tensions rise, Fonda’s Juror 8 remains a steadfast voice of reason, refusing to be swayed by emotion or outside pressure. His unwavering commitment to justice ultimately leads to a unanimous verdict of “not guilty,” a testament to the power of individual conviction in the face of overwhelming odds.
26. Marcello Mastroianni | 8½ (1963)
The title of the film 8½ refers to the number of films Fellini had directed up to that point, including co-directed works and short films. However, the film delves much deeper than a simple autobiographical account, as it blurs the lines between reality and fantasy, exploring the complexities of creativity, identity, and existential crisis. The film follows the journey of Guido Anselmi, a renowned film director played by Marcello Mastroianni, who finds himself creatively and emotionally blocked while trying to make his next film. As Guido struggles to come up with ideas and faces pressure from producers, actors, and his own personal life, he retreats into a world of dreams, memories, and fantasies. Fellini employs a nonlinear narrative structure, blending reality with Guido’s dreams and memories, creating a surreal and visually stunning cinematic experience. The film is filled with iconic imagery, dream sequences, and elaborate set pieces that reflect Guido’s inner turmoil and creative process.
Throughout the film, Guido grapples with the expectations placed upon him as an artist, the complexities of his relationships with women, and his own existential crisis. He seeks solace and inspiration from his memories of childhood, encounters with women from his past and present, and his interactions with colleagues and acquaintances. It’s a visual feast of film that eschews the typical autobiography trappings by being wholly original in its presentation and is anchored by an amazing central performance from its lead. Mastroianni is so good in the role, the great Daniel Day-Lewis literally couldn’t do it better when he tried.
25. Christian Bale | American Psycho (2000)
It’s 1987 and Patrick Bateman works for an extremely successful investment banking firm. He wears the slickest suits and is in peak physical shape. He’s a yuppie that bitches about other yuppies and has a strong affinity for Huey Lewis and the News. He flaunts his business cards as a sign of vanity and ego and enjoys the company of prostitutes. He also murders people. There’s been much debate on whether or not the events of the film actually take place or if they are just the delusions of an insane maniac but the writer and the director both maintain that the majority of the evil Bateman commits throughout the film actually happened. Either way, Bale knocks either interpretation out of the park. It’s a meme at this point but it’s true, no actor physically commits as hard as Bale does for a role. He’ll lose or gain a massive amount of weight. He’ll pack on muscle or shave his head bald. Once he signs on to a project, he is that character. As much as I would’ve loved to have seen the version Cronenberg and DiCaprio were originally planning on making, I doubt immensely it would be as good as this. Not even DiCaprio in his prime can hold a candle to Bale when it comes to dedication and he’s light years away in terms of menace. Bale was perfectly cast because for those 90 or so minutes, he was Patrick Bateman.
24. Lauren Bacall | To Have and Have Not (1944)
Lauren Bacall’s portrayal of Marie “Slim” Browning in To Have and Have Not is a defining moment in Hollywood history. Bacall’s debut performance captivated audiences with her sultry allure, smoky voice, and undeniable charisma, establishing her as one of the most iconic leading ladies of the Golden Age of Hollywood. From the moment Bacall sashays onto the screen, her presence is magnetic. As Slim, a sharp-witted and independent woman caught up in the intrigue of wartime Martinique, Bacall exudes confidence and sophistication beyond her years. Her chemistry with co-star Humphrey Bogart, both on and off-screen, is palpable, sparking a legendary romance that would endure for decades. Bacall’s performance is marked by her trademark “look,” a smoldering gaze that would become her signature. Whether she’s trading barbs with Bogart’s character, Harry Morgan, or singing sultry tunes in the hotel bar, Bacall commands the screen with an effortless allure that is impossible to ignore. Her delivery of iconic lines like “You know how to whistle, don’t you, Steve? You just put your lips together and blow,” has become indelibly etched in the annals of cinematic history. Lauren Bacall’s performance in To Have and Have Not solidified her status as a Hollywood legend. With her smoky voice, smoldering gaze, and undeniable charisma, Bacall captivated audiences and left a crater-sized impact on the golden age of cinema.
23. Jack Nicholson | The Shining (1980)
One of the reasons Stephen King dislikes this film so fervently is the casting of Nicholson who he thought was crazy from the get-go, so his gradual descent into madness wasn’t as effective as say a Robert Duvall in the role. Since he sees this film as a metaphor for a writer losing his mind to mental tormentors (aka booze), the character should essentially be an everyman who turns into a monster by the end. Not a lunatic who finally snaps. But that’s not the film Kubrick wanted to make. There’s an argument to be made that Jack is merely a pawn of the insidious Overlook Hotel and that he’s either being slowly possessed by the evil spirits within or is merely going crazy but as Mr. Grady explicitly states “…but you are the caretaker. You’ve always been the caretaker.” Kubrick made it crystal clear with the final shot that Jack isn’t crazy nor is he being possessed. This isn’t a case of ghosts vs cabin fever. He is the reincarnation of a spirit long dead and that spirit was crazy. Axe murderingly crazy. And that’s scarier than a million ghosts. Kubrick intentionally cast Nicholson because he’s crazy. He wanted that crazy to slowly consume the entire film, not the other way around. He knew no other actor could tap into that level of mania and he was right.
22. Robert Mitchum | The Night of the Hunter (1955)
Sometimes a film is too effective in its depiction of horror. There’s a multitude of reasons why a film flops at the box office but in the case of The Night of the Hunter, I truly believe it was a case of right place, wrong time. Critics tore it apart and audiences had no idea what to do with it. Because they had never seen anything like it. Audiences could handle the Universal movies because there was an automatic disconnect. They were scary but they weren’t real. These were fictitious monsters that don’t live in our world. Harry Powell is a monster who does. He hides behind the visage of a holy man to commit truly terrible crimes but it’s his unwavering need to chase two young children to collect some money, that makes him unforgettable. There are times throughout the film where he is depicted as more of a darkly cartoonist boogeyman but you never question what would happen if he caught those kids. He’d kill them. Robert Mitchum didn’t play villains often but when he did, there was no one better.
21. Anthony Perkins | Psycho (1960)
The novel Psycho is why it is so important to adapt, not translate a work into another medium. What works on the page doesn’t always work on screen. Robert Bloch was a talented writer of pulp and sci-fi but Hitchcock wanted something more serious. Case in point, changing the character of Norman Bates. In the novel, he is pudgy, balding, and middle-aged. He’s also a much less sympathetic character; his internal monologue makes up much of the text and this portrays him as misogynistic and utterly antisocial. He also has punny-sounding multiple personalities. If Hitchcock cast an actor that fit the description, everyone on Earth would know immediately he was a killer. The film works so well because he didn’t follow the book and instead, cast the boy next door: Anthony Perkins. Embodying the epitome of innocence and madness, Perkins ruined any chance of getting cast in a normal role after this.
He became so synonymous with the role, it practically killed his career. He wears crazy like a fine-tailored suit. His boyish charm and affable demeanor initially mask the darkness that lurks beneath the surface. Norman’s unsettling behavior and cryptic conversations with Marion Crane (Janet Leigh) foreshadow the twisted truth lurking within the Bates Motel. Perkins masterfully manipulates his facial expressions and body language to convey Norman’s increasing instability, keeping the audience on edge with every subtle gesture and inflection. You assume he’s odd but you could never guess he was deranged. Perkins turns what could’ve been a B movie in a lesser director’s hands into the most important horror film of all time. Killing off Marion Crane shocked audiences but what was more shocking was once we were in the shoes of the killer (or the son of the killer for the people watching it for the first time), we started to sympathize with him.
40-31 | 20-11
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!
