Because complaining about the Oscars is more fun than watching them.

“Creed” — Best Picture, Best Director, Best Actor

While Sylvester Stallone was nominated (and will most likely win) for his role as Rocky Balboa, pretty much everyone else involved in the creation of “Creed” was snubbed. Don’t get me wrong –– Stallone deserves the honor and recognition for his seven-film, four-decades long portrayal of Rocky–– but Stallone is not the star of “Creed,” Michael B. Jordan is. Jordan brings intensity, confidence and charisma to the role and proves beyond a doubt that he is a worthy successor to the franchise (plus he put on 24 pounds of muscle). Director Ryan Coogler embraces the cliches of the well-worn boxing genre and pays homage to the rest of the “Rocky” series, but also makes this film his own. Jordan and Coogler pulled off an insane one-take boxing match, and they deserves some credit for that. —Zach Martin, Arts Editor

“Boyhood” — Best Picture win

It’s not too soon to declare Richard Linklater’s “Boyhood” as one of the most egregious Oscar snubs of all time. It’s a film unlike any other, not limited by a gimmick but a film that transcended the capabilities of a medium via the physical utilization of time. It’s profound, moving, encompassing, caring and pure genius. Its weakest link was Ellar Coltrane’s performance in the latter half of the movie, though it would have been difficult to predict how a six year old would act in 10 years, which makes this detraction forgivable. Sure, “Birdman” was good, but director Alejandro G. Inarritu’s love letter to his ego is far from groundbreaking and lacked the emotional depth of Linklater’s masterpiece. — Ethan Sapienza, Film Editor

“Star Wars: The Force Awakens” — Best Picture

Granted, among the list of Oscar contenders, “The Force Awakens” did have one of the latest screenings for eligible voters thanks to its mid-December release. Nevertheless, its earnings at the box office alone have made it the top-grossing domestic film and one of the greatest international successes to date. Though this new installment of Star Wars did garner five nominations in lower-ballot categories including Film Editing and Visual Effects, director J.J. Abrams was greatly overlooked for his artistic contribution this season, as was as the production quality overall for Best Picture. — Gianna Collier-Pitts, Social Media Editor

“Argo” — Ben Affleck for Best Director

When “Argo” came out in 2012, it was critically lauded, with its directing cited to be among the film’s best aspects. Today, it holds a 96 percent rating on Rotten Tomatoes, which I’m pretty sure is legally binding. Though some considered the diminished role of the Canadians problematic, the film itself was a triumphant thriller. A sequence near the film’s end where the American escapees are on the cusp of discovery by the Iranians was among the most exhilarating, edge-of-my-seat film experiences of my life, and a testament to Ben Affleck’s sensational directing, for which he won nearly every accolade available. However, when Oscar nominations came around, his name was left off the ballot, a snub met with outrage amongst the public as well as Affleck’s peers. On Oscar night, “Argo” took home the Best Picture prize, which was a rarity considering the film’s director wasn’t even nominated. Affleck, if nominated, would and should have won. — Rachel Ruecker, Deputy Sports Editor

“Pulp Fiction and The Shawshank Redemption” — Best Picture

There’s a snub every year, in every award ceremony, for a different reason almost every time. Some of those snubs are justifiable. If you have two worthy candidates, someone is going to get passed up. But it’s not every year that two of the top five greatest pop-culture films ever get snubbed by an overrated Tom Hanks performance that hardly makes Hanks’ top three. The 1995 Oscars were a case of highway robbery in which the Academy got overexcited about a likable character in a feel-good performance — “Forrest Gump” — and blatantly ignored the genius of both “The Shawshank Redemption” and “Pulp Fiction.” How do you mess up that badly on two different fronts?! That’s like having a Lamborghini and a Ferrari in front of you and choosing a V8 Mustang because you think it’s admirable and American. Take the Italian sports car, Academy. That way you won’t look stupid to even the most superficial movie buffs two decades later. — Bobby Wagner, Managing Editor

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