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.
50. Pam Grier | Jackie Brown (1997)
It was a calculated move on Tarantino’s part to do, what he refers to, as “his comeback movie” before he needed to comeback. Older directors tend to have one last mature work before dying and he decided to make his his third movie. Since it’s not Reservoir Dogs or Pulp Fiction, it wasn’t as warmly received at the time, but many consider it one of his best now. A good reason for that is the fact it feels “real.” Jackie Brown isn’t a comic book character like The Bride nor is she on some epic quest to kill Hitler. Her actions won’t rewrite history or even be remembered after a month. All she wants to do is outsmart a dangerous gunrunner, make a little scratch, and do it without dying or ending up in prison. Because she’s based on a character originally created by Elmore Leonard, she was badass before Tarantino got her but the casting of Pam Grier (the character was originally white) added another level of reality and badass-ness. Because she’s a middle-aged black woman clinging to her terrible job, you immediately understand her desperation but since she’s played by the queen of blaxploitation, you also know she’s gonna get it done. It’s a gift for an actress like Grier and her Oscar snub still stings all these years later.
49. Paul Giamatti | Sideways (2004)
Paul Giamatti is a front-runner to win this year’s Oscar but if fans of his had their way, he would’ve won years earlier. He only has two noms to his name, which is about two less than he should have. He was definitely overlooked for American Splendor and was most definitely snubbed for Sideways. In the film, he plays Miles Raymond, a wine snob just trying to enjoy a wine tasting but his own neuroses and explosive temper won’t let him. He’s a bundled-up ball of rage that constantly explodes. He’s a man navigating the tumultuous waters of midlife crisis and self-discovery but doing it in the worst possible way. His depiction of a struggling writer, grappling with failed aspirations and the harsh realities of life, is both poignant and relatable. Giamatti effortlessly draws the audience into Miles’ world, making us empathize with his struggles and cheer for his moments of triumph. Furthermore, he seamlessly captures the nuances of the character’s relationship with wine, transforming it into a metaphor for his own quest for meaning and purpose. The character’s passion for Pinot Noir becomes a lens through which Giamatti skillfully explores themes of identity, regret, and the pursuit of happiness.
48. Ruth Gordon | Harold and Maude (1971)
Hal Ashby’s Harold and Maude is a cinematic gem that transcends genre conventions, offering a poignant exploration of life, love, and the unconventional bonds that bind us. Ashby’s directorial finesse is on full display as he navigates the delicate balance between dark humor and profound introspection, creating a film that lingers in the viewer’s mind long after the credits roll. The film follows Harold (Bud Court), a young man obsessed with death, and Maude (Ruth Gordon), a vibrant and eccentric octogenarian. Ashby’s masterful storytelling weaves a narrative tapestry that beautifully captures the unlikely connection between these two seemingly disparate characters. Cort’s deadpan delivery and Gordon’s infectious zest breathe life into Harold and Maude, creating a mesmerizing on-screen chemistry that is both heartwarming and thought-provoking. It’s one of the oddest cinematic love stories ever told but it works because the actors sell it. Their relationship unfolds organically, challenging societal norms and transcending age and societal expectations. Throughout the film, you understand why Harold would be infatuated with Maude and you understand why Maude would find this kid fun to hang around. It’s the perfect showcase of Gordon’s immense talents and I only wish someone would’ve written a role this good for Betty White before she died.
47. R. Lee Ermey | Full Metal Jacket (1987)
Although he had already done the drill sergeant shtick twice before, it wouldn’t be until Stanley Kubrick’s Full Metal Jacket that R. Lee Ermey would be associated with that role for all time. He left an enduring mark on cinematic history so profound that it is impossible to see any other actor yell at Marines or soldiers without thinking of Ermey. His performance not only elevated the film but also became iconic in its portrayal of military authority and the dehumanizing effects of boot camp. Ermey’s background as a real-life Marine Corps drill instructor brought an unparalleled authenticity to his role. Kubrick’s decision to cast him as Hartman was a stroke of genius, as Ermey’s commanding presence, sharp delivery, and unrelenting intensity breathed life into the character. His ability to seamlessly switch between fierce discipline and darkly humorous tirades showcased a nuanced understanding of the psychological dynamics within the military hierarchy. The infamous opening scene, an unrelenting barrage of insults and profanity directed at the recruits, exemplifies the actor’s unparalleled skill. His rapid-fire delivery, combined with an imposing physicality, created an atmosphere of palpable tension, setting the tone for the entire film. Ermey’s performance in these scenes is not merely acting; it’s a visceral experience that leaves an indelible imprint on the audience.
46. Naomi Watts | Mulholland Drive (2001)
Mulholland Drive is one of Lynch’s most impenetrable films and that’s saying a lot. The man lives to confuse his audiences. It’s like he’s daring people to try and figure out his plots and only the most dedicated, obsessed and/or crazy of his die-hard fans even try. Dipping your toes into the vast ocean that is his brain is an experience that changes you if you let it. You can get lost in his world, which is why he always creates a lighthouse to guide you back and in this film, it’s Naomi Watts. Even if you don’t get this film (and you don’t. Don’t pretend you do), her performance is the one thing you’ll definitely latch onto. The film is a mesmerizing exploration of identity, desire, and the disconcerting nature of dreams, and her character(s), the enigmatic Betty Elms/Diane Selwyn, transcend the traditional boundaries of acting, plunging audiences into a surreal and emotionally charged narrative.
Watts’s portrayal is a study in versatility, as she effortlessly navigates the stark contrast between the optimistic, aspiring actress Betty and the broken, despair-ridden Diane. In the first part of the film, Betty embodies the epitome of Hollywood dreams – radiant, hopeful, and filled with an infectious enthusiasm for the possibilities that lie ahead. Watts infuses Betty with a captivating innocence, drawing viewers into her world with a performance that is both charming and haunting. However, it is in the film’s second half that Watts’s brilliance truly shines. As the narrative takes a surreal and psychologically complex turn, Betty transforms into Diane, a shattered and tortured soul grappling with the harsh realities of her ambitions. Watts seamlessly navigates this shift, exposing the raw vulnerability beneath Diane’s polished facade. Her portrayal of Diane’s unraveling mental state is a poignant and haunting exploration of the human psyche. The emotional depth Watts brings to her character is unparalleled and is definitely the best thing about the movie.
45. Robert De Niro | The King of Comedy (1982)
To pick the best performance in The King of Comedy feels like a zero sum game. All three leads are so good, they easily could’ve swept the Oscars that year. De Niro had just won the year before and three times previously, so they probably felt like it was someone else’s turn. Sandra Bernhard was far too real to ever get nominated and I’m actually shocked they didn’t want to give Jerry Lewis one since he’s a legacy actor. All three were snubbed but if I had to pick one that was the biggest snub, it would have to be De Niro. Although it was still relatively early in his career, he had already proven he was one of the all time greats. His career was built on playing villains or emotionally unstable characters and while Rupert Pupkin most definitely fits that bill, it’s unlike any other role he had done previously. Because of his relatable goal (but abhorrent actions), he skates the fine line between sympathy and repulsion. Pupkin’s relentless pursuit of fame and his complete disregard for social norms could easily render him unsympathetic, but De Niro infuses the character with a desperate humanity that elicits a complex range of emotions from the audience. It’s a testament to De Niro’s skill that he can make viewers simultaneously cringe at Pupkin’s audacity and ache for the emptiness that propels his delusions. The film’s dark humor and biting social commentary find a perfect vessel in De Niro’s performance. His comedic timing is impeccable, allowing the absurdity of Pupkin’s actions to land with a sharp and satirical edge. As he weaves through a twisted plot that blurs the lines between reality and fantasy, De Niro’s commitment to the character anchors the film in a disconcerting exploration of the cult of celebrity and the lengths one might go to achieve it. While great in it’s own right, the fact that Joaquin Phoenix won the Oscar for his performance in Joker when De Niro didn’t even get a nom, boils my blood to this day.
44. Vicky Krieps | Phantom Thread (2017)
To hold ones own against Daniel Day-Lewis is no small feat but to completely and utterly steal a movie from him? That’s an accomplishment no other actor I can think of has ever done. Vicky Krieps’s portrayal of Alma Elson in Paul Thomas Anderson’s Phantom Thread is a mesmerizing exploration of power dynamics, desire, and the complexities of intimate relationships. As the enigmatic and resilient love interest to Daniel Day-Lewis’s obsessive couturier Reynolds Woodcock, Krieps brings a subtle strength and quiet intensity to her character that elevates Alma beyond the typical romantic foil. Alma is introduced as a waitress but quickly emerges as a force to be reckoned with in the Woodcock household. Krieps captures Alma’s initial vulnerability with nuance, subtly conveying the character’s observant nature and quiet determination. What distinguishes Krieps’s performance is her ability to navigate Alma’s transformation from an initially passive figure to a woman who asserts her agency in the face of Woodcock’s controlling tendencies.
The chemistry between Krieps and Day-Lewis is palpable, and their on-screen dynamic becomes a delicate dance of power and submission. Like I said earlier, Krieps more than holds her own against Day-Lewis’s commanding presence, creating a compelling push-and-pull that defines the emotional core of the film. Alma’s ability to challenge Woodcock’s control, both emotionally and creatively, becomes a riveting focal point, showcasing Krieps’s skill in conveying the subtle shifts in their relationship. In short, the movie could have been made without Daniel Day-Lewis and it still could’ve worked but it could never have worked half as well without Vicky Krieps as its emotional center.
43. Nathan Lane | The Birdcage (1996)
Nathan Lane’s portrayal of Albert Goldman in Mike Nichols’ The Birdcage is a comedic tour de force that transcends stereotypes and brings depth to a character navigating the complexities of love, identity, and acceptance. As the flamboyant and spirited partner to Robin Williams’s Armand Goldman, Lane infuses Albert with a blend of humor, vulnerability, and unapologetic authenticity that elevates the film into a heartfelt exploration of modern relationships. From the moment Lane graces the screen, his physicality and expressive mannerisms command attention. Albert is more than a mere caricature; Lane invests the character with a humanity that goes beyond the surface flamboyance. His comedic timing is impeccable, turning potentially stereotypical moments into nuanced expressions. Moreover, Lane’s performance challenges preconceived notions about LGBTQ+ characters in mainstream cinema.
Albert Goldman is not reduced to a sidekick or punchline; instead, Lane portrays him as a resilient individual navigating a world that often misunderstands or marginalizes him. Albert’s emotional journey becomes a universal tale of love and self-acceptance, and Lane’s performance contributes significantly to this narrative richness. Lane delivers a performance that goes beyond the surface of comedic stereotypes, creating a memorable and impactful character in Albert Goldman. His ability to infuse humor with genuine emotion, coupled with his commitment to portraying a multi-dimensional gay character, makes Lane’s portrayal a standout in the realm of comedic performances and a testament to the film’s enduring appeal.
42. Malcolm McDowell | A Clockwork Orange (1971)
In the novel, Anthony Burgess omitted the final chapter from editions published in the United States for over twenty years. The fabled 21st chapter involves Alex finally growing bored with violence and resolves to turn his life around. Although that chapter is the most important in the book and actually changes the meaning of the entire novel, both critics and audiences (including the director, Stanley Kubrick) actively disliked it. It essentially hand waves away Alex’s behavior by saying that not only can anyone change but violence comes with the territory of being young. The film doesn’t subscribe to the notion of “boys will be boys” or make excuses for anything Alex does. And it certainly doesn’t give him an out. He clearly enjoys indulging in childlike bedlam but once the film gets to the “Singin’ in the rain” bit, you realize this is more than just Bart Simpson-esque thuggery. He’s a remorseless brute that takes great pleasure in the misery of others and no amount of brain washing can stop that. McDowell created one of the most unhinged villains of the 20th century and the Academy decided Walter Matthau’s performance in Kotch was more important that year.
41. Judy Garland | The Wizard of Oz (1939)
Released in 1939, The Wizard of Oz catapulted Judy Garland to stardom and solidified her status as one of Hollywood’s most beloved and enduring performers. From the moment Garland steps onto the screen, her portrayal of Dorothy exudes a captivating blend of innocence, curiosity, and earnestness. As a young girl swept away to the magical land of Oz, Garland’s wide-eyed wonder and genuine emotion resonate with viewers, drawing them into Dorothy’s fantastical journey. Garland’s performance is a masterclass in childlike authenticity, as she effortlessly embodies the spirit of a dreamer seeking adventure and self-discovery. One of the film’s most enduring legacies is Garland’s rendition of “Over the Rainbow.”
The song, which won the Academy Award for Best Original Song, serves as a poignant anthem of longing and hope. Garland infuses the lyrics with a poignant sincerity, delivering a performance that transcends the screen and becomes a timeless expression of human aspiration. Her emotive delivery of this iconic song is a testament to Garland’s vocal prowess and emotional depth. Her performance is not only defined by her vocal and acting abilities but also by her resilience during the production. Enduring long hours, rigorous rehearsals, and the challenges of filming in Technicolor, she navigated the demands of the role with professionalism and dedication. Despite facing the pressures of the studio system, Garland’s commitment to bringing depth to Dorothy’s character shines through in every frame. Through her unforgettable performance, Garland ensured that generations would continue to follow the yellow brick road, discovering the magic of Oz alongside Dorothy, and finding solace, courage, and dreams over the rainbow.
60-51 | 40-31
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!
