Oscar buzz is inevitable every year, usually around the holidays. But when the Academy of Motion Picture Arts and Sciences (AMPAS) announces the nominations, lots of people are left unsatisfied with snubs. At this year's show, the biggest snub was arguably Ben Affleck for "Argo" in the directing category, despite the film winning for Best Picture. But then there are omissions, films that are not recognized by the Academy at all. Nominations alone are honorable for filmmakers and studios. It's something to put on a resume, and it's highly marketable. Posters and Blu-Ray/DVD box covers with accolades like "5 Academy Award Nominations including Best Picture" will catch the attention and possibly hook the mouth of the average moviegoer. The way I see it, there are two ways of ranking the titles; worthiness of a specific category, or the movies themselves. I'm going with a third option: alphabetical.
10. Apocalypse Now Redux (2001)
This one is very debatable. Francis Ford Coppola released "Apocalypse Now" in 1979 so he could enter the movie in contest at the Cannes Film Festival where it went on to win the Palme d'Or, albeit in a tie with "The Tin Drum." That version received eight Oscar nominations, winning two of them. But at the 2001 Cannes Film Festival, Coppola explained to Roger Ebert how he came about releasing the redux version. The movie was always a work in progress, it wasn't finished. What compelled him to finish it was home media. He wasn't expecting Miramax to give it a theatrical release. It was the DVD medium that convinced him to finish. The movie's editor, Walter Murch, was initially reluctant but later convinced by Coppola. "Apocalypse Now Redux" could receive the same nominations as the original did but with more nominations, or interchange some. It should keep the eight that were given (Best Picture, Directing, Actor in a Supporting Role - Robert Duvall, Writing Based on Material from Another Medium, Film Editing, Art Direction, Sound, and Cinematography). The redux version expanded Marlon Brando's role as Colonel Walter E. Kurtz a fair amount, as well as his background story. It should've been switched with Ethan Hawke for "Training Day." The music in the movie was integral in making the movie as dark as it was. "The End" by The Doors introduced the movie as desolate, diabolic, and somewhat psychedelic. But it was the score by Carmine Coppola and Francis Ford Coppola that mostly made it melancholy and surreal. It should've taken the nomination held by John Williams for "A.I. Artificial Intelligence." Had it won, it would've been a posthumous win for Carmine Coppola. An award I'm sure Francis Ford would've dedicated to his father.