Movies / Oscar Winners' Bad Reviews

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Can you name the Academy Award Best Picture winner from the bad review?

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‘Attenborough's work lacks even the undercurrent of personality that David Lean brought to his films: the film has no flavor but that of the standard Hollywood hagiography.’
‘The physical exuberance of the production flusters the pensive sensuality of Colette's mood like a poodle in a cage of lovebirds.’
‘Unhappily, the film shares a serious flaw in the essential conception of the show; both are founded on a phony literary analogy and on some potentially vicious pseudo-sociology.
‘The triumph of mediocrity over genius. It’s the Salieri of movies.’
‘Like all other slasher movies from Psycho on, this one “works” insofar as it plays on the desire to see victims, preferably women, get torn to pieces.'
‘Judging by the movie's enduring popularity, the message that stupidity is redemption is clearly what a lot of Americans want to hear.’
‘There are intervals when the two hours which it lasts seem as interminable as Bligh's voyage in the open boat must have seemed to its occupants.’
‘...classic soap opera in which good old British understatement has a field day, everybody is frightfully nice, and sentimentality is wrapped up in yards of tasteful gloss.’
‘An interminable travelogue interspersed with sketches in which star-spotting affords some relief.’
‘It's both fascinating and appalling…the story of a man about whom only the Establishment could become genuinely sentimental.’
‘This is Hollywood musical as its most calculating, with something for everyone: corny anti-Nazi politics, melodic tunes, schmaltzy romance, old-fashioned values.'
‘Newman and Redford pass a few facial expressions between them and try to cool each other out. If there ever was much of a script, it can be said to have gone to waste.’
‘The movie would appear to share Pu Yi's severely limited experience of--and curiosity about--the world.’
‘…a racist melodrama that uses real misery and human degradation as the backdrop for a fairytale of how everything works out in the end.’
‘Eastwood...directs as if it would hurt him to throw in a little lightness, a little color, one scene that didn't look like it was shot in a gas station bathroom.'
‘The end result resembles one of Neil Simon's middlebrow romps more than it does 'As You Like It.'’
‘…suggests what would happen if someone made a movie of the imminent extreme-football league and shot it as if it were a Chanel commercial.’
‘Is Scorsese desperate? This screenplay has the scent of it, as if he is scraping for material to feed his basic filmic interests.’
'We are asked to believe that [title character] is compassionate, interesting, even heroic, though the character we see is simply an unconvincing actor imitating a lug.’
‘Three hours in...I found that my arse was sore and numb. There was another twenty minutes to go as we are made to sit through one endless coda after the other.'
‘While scores of people plummet to their deaths…Rose point[s] out: 'Jack, this is where we first met.' I expected her, amid the shrieks, to add, 'And they're playing our song.'
'[Title character]'s a crotchety and naive man that merits little of our attention aside from the fact that he had a knack for making musicals.’
‘The theme is racism. Let me say that again: The theme is racism. I could say it 500 more times because that's how many times the movie says it, in every single scene.’
‘…suffers slightly from [Olivier’s] pop-Freud approach to the character and from some excessively flashy, wrongheaded camera work.’

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