Around Oscar time, the inevitable articles pop up like crabgrass lamenting all the excellent work the Academy never bothered to recognize. They are pretty much tend to read the same, about how all the fantastic films and the talented people who worked for them had been passed over in favor of the four or five who were chosen to be lauded in their respected category. Those articles are easy to write, a writer can prettty much do them on autopilot. It's easy to point out that "Casablanca" or "Star Wars" should have won for Best Picture, or extoll the virtures of Denzel Washington's performance in "Philadelphia" Bruce Willis' in "Die Hard", or Jack Nicholson in "Batman". They were all actors working in big budget films, that were given maximum publicity and were seen by a wide audience. Whether or not they were nominated, they still received their critical accolades as well as their share of the box office take.

But what of the films that were critically panned, ignored during their run, or just snuck striaght to the local video store. Isn't it possible that there were excellent acting and directing in films that viewers never heard of, or just turned their nose up at because of the genre. Aren't there worthy films that went unappreciated during their inital release that truly did deserve recognition in the Best Picture category ("Blade Runner" is one that immediatly springs to mind). Here's a brief look at the films and performances Oscar forgot, to at least give them their due in some respect.

BEST PICTURE:

"Manhunter" (1986)- Hannibal Lecter didn't debut in "Silence of the Lambs", as many thought, but in writer/director Michael Mann's stylish psychological thriller. Here played by Brian Cox (X:Men 2, Running with Scissors), Lecter is a more accesible and down to Earth monster, but still brilliant and unredeemably evil with no conscience. An excellent supporting cast of Dennis Farina, William Petersen, and Joan Allen bolster this effort, as the cinematography of Dante Spinotti. Many see this as the 'lost" Hannibal film (although it was remade by Brett Ratner as in its inferior incarnation, "Red Dragon"), it certainly doesn't deserve to be. Intially release in August of 1986, this film got lost in the waning summer releases, which is probably why the Academy passed it over in favor of films with a higher profile and a better pedigree.

BEST ACTOR:

Paul Rudd as Tommy Doyle "Halloween:The Curse of Michael Myers" (1996)- Before roles in "Anchorman", "Clueless", and "The 40 Year Old Virgin", Rudd cut his teeth playing the Myers-obsessed Tommy Doyle. The character first encountered Michael Myers back in the second installment of the series; Paul Rudd picks the character up over a decade late, showing us a Tommy who psyche was scarred forever by that encounter and is now a recluse waiting for his tormentor to return. What is so incredible is how Rudd handles his roles, he doesn't make Tommy just another raving kook pounding at the walls for revenge. He makes his character a likeable, albeit wounded in his soul. His hunched posture, blank speech, and downcast looks all show his inner pain--but never lets the audience forget this is a multidimensional character and that you find yourself surprisingly rooting for as the film progresses.

BEST SUPPORTING ACTOR:

Jake Gyllenhall as Sam Hall "The Day After Tomorrow" (2004)-Probably the only good thing about Roland Emmmerich's bombastic disaster film is the turn by Gyllenhall as Dennis Quaid's high school age son trapped in New York. Although lookingly slightly old for the role, Gyllenhall saves the picture from descending into Irwin Allen hell by giving an emotionally heartfelt performance through wounded seraphim eyes. The highlight of his effort is his attempt to prevent fellow survivors from leaving their shelter and probably hiking towards their deaths. When speaking, we see the pain and desperation in his face, as he suddenly realizes he has the responsibility of saving everyone in the room. A heavy burden for a kid still planning his prom, and Gyllenhall conveys that and the desperation of his situation remarkably. If he had been in a better film, the Academy might have noticed his work. Too bad he wasted his talent for Roland Emmerich.

BEST ACTRESS:

Jodie Foster as Kyle Pratt "Flightplan" (2005)- "Flightplan" is a good film with some nifty twists and turns, but without Foster it would have been a Lifetime Original Movie that cost $55 million dollars. Her portrayal of a grieving widow who lost a daughter that seems to have never existed is intergral to the film; we believe the character's fear and desperation through Foster's expressions and actions and this makes us believe her even though all the evidence points to the contrary. Foster's sheer intensity carries the film, and keeps us watching even when all is revealed.

BEST SUPPORTING ACTRESS:

Jane Fonda as Viola Fields "Monster-in-Law" (2005)- The Academy thought Meryl Streep was formidable as Miranda Priestly, but she can't hold a candle to high powered famous journalist Viola Fields. Fueled by martinis and tranquilizers, she truly is the mother -in-law from Hell, smiling and flattering to Jennifer Lopez's face all while plotting her demise. With her false charm and scheming mind, Fonda plays Viola as a force of nature to be reckoned with. But even better is Fonda after her character has been humbled by a lowly office temp/dog walker, when she realizes that (what a concept!) she might be wrong and tries to make amends. The presence of JLo is a likely reason for the Academy turning a blind eye to Fonda's performance, a shame since Fonda's acting is certainly Oscar worthy

BEST ORIGINAL SCREENPLAY:

George Lucas for "Star Wars: Episode III-Revenge of the Sith" (2005)- Suggesting a recent "Star Wars" film for an Oscar nod may seem like a strange idea, considering how the prequels have taken a beating by fans and moviegoers alike. But "Episode III" doesn't just tell a good story, it keeps us glued to the screen even though we already know what happens. The audience knows Anakin Skywalker becomes Darth Vader, the Jedi are destroyed, the Sith takes over the Republic, Amidala has twins who become Luke and Leia, and Yoda and Obi-Wan seperate and go into hiding. All the essential plot points have been known for over a decade, yet the script is action packed and moves along at warp speed. It even manages to add a deeper understanding into the mind of Anakin as well as features the most spectacular light saber duels of all the films. Extremely entertaining, especially since we know the story and the ending going into the movie and a fine writing job worthy of a golden statue.

BEST ADAPTED SCREENPLAY:

Mary Horrman and Guineve Turner for "American Psycho" (2000)- Anyone who read Bret Eaton Ellis' novel would agree that it is practically unfilmable as it is, due to excess of graphic violence that overshadows any satrical intent the author had. Harron and Turner did a miraculous job of turning an umpleasant reading experience into an amazing script, by eliminating majority of the graphic gore and focusing on social satire instead. The result is a razor sharp satire on the New York social elite, with serial murder serving as a metaphor for conspicious consumption. Slyly funny and well plotted, this is one of the few exceptioins where the film is dramatically better than the book.

BEST FOREIGN FILM:

"Nightwatch" (2004)- Harry Potter can hand in his wand, he's got nothing on this film. This wilding imaginative and visual take on the battle between good and evil from Russia make take a little while to get going, but once it does it sucks you in and leaves you wanting for the next installment. Vampires, witches, evil sorcerors, curses, and an epic showdown-this film has it all to spare. The film's horror/fantasy genre and huge take at the Russian box office probably caused the Academy to turn its nose up at it, which is a shame since the film is the best that's come out of Moscow in years.

BEST DIRECTOR:

David Fincher for "Alien 3" (1992)- He'd only directed Nike commercials and music videos before 20th Century Fox threw him into the deep end of the shark tank to helm the third film in the "Alien" franchise. For a neophyte film director, the task would seem impossible: the script still was unfinished after numerous attempts, and the movie had already cost $10 million dollars and it hadn't even begun shooting, plus he had to deliver a movie that would be measured against the previous "Alien" movies that had been directed by Ridley Scott and James Cameron. . Things didn't get easier during shooting, with production shutdowns and studio interference, and it was amazing Fincher finished it at all. Finish it he did, and not only that, he gave us a hauntingly beautiful gothic film, one that truly stood out in the film series and remains possibly the most original of all the "Alien" films. While Fincher's ability was later validated with "Panic Room", "Se7en", and "The Game", he was criticized upon the release of "Alien 3" for its dark tone. While his daring vision went unappreciated then, we can look back now and see how worthy it was of Academy recognition.

Final Words: