Jack Nicholson announcing "Crash" as Best Picture at the 78th Annual Academy Awards.
Jack Nicholson announcing "Crash" as Best Picture at the 78th Annual Academy Awards.

The Academy will never please everyone, but they hope to please as many moviegoers and as broad an audience as possible, retaining some dignity without hurting too many feelings. But now and then, the Oscars get it completely wrong. A turning point was in 1941, when "Citizen Kane" infamously lost Best Picture to John Ford's "How Green Was My Valley." Fortunately, time has rewritten that watershed moment across innumerable best-of lists, where Orson Welles' film, like Kane himself from his ivory tower of isolation, proudly stands at the top again and again.

As we've learned from Oscar nights such as the "Crash" of 2006 and the big, fat, WTF win of "Shakespeare in Love" over "Saving Private Ryan" and "The Thin Red Line" in 1999, don't count on a Best Picture win to secure a classic. Thus, as we ramp up to the Academy Awards nominations unveiled this Thursday, here are ten films that lost Best Picture but deserved better. And you can stream them now.

"Double Indemnity"
"Double Indemnity"

What won? "Going My Way"
What should have won? "Double Indemnity" (Netflix)
In 1945, Oscar was still finding his legs and the Academy loved their musical comedies, so they crowned Leo McCarey's easy, breezy "Going My Way" the best film of the year. Meanwhile, looming on the horizon of film legends was Billy Wilder, who the Academy gave a mea culpa the following year with top honors for "The Lost Weekend." A salacious noir -- perhaps the noir -- of murder, double-crossing and adultery gone horribly out of control, "Double Indemnity" features a subtly wily Barbara Stanwyck (also Oscar-nominated) as a very mad housewife, the kind of serpentine female character audiences weren't used to seeing. Even though the film went home empty-handed that night, "Double Indemnity" stands tall as an undisputed classic. Whereas the sweet songs of "Going My Way" are seldom heard.

"Who's Afraid of Virginia Woolf?"
"Who's Afraid of Virginia Woolf?"

What won? "A Man For All Seasons"
What should have won? "Who's Afraid of Virginia Woolf?" (Amazon)
When Mike Nichols' scandalous Edward Albee adaptation "Who's Afraid of Virginia Woolf?" came along in 1966, it was one of the most radical studio movies ever made. A pity, but no shocker, that Academy voters skirted the drunken moral turpitude in favor of a more dignified Renaissance period piece, "A Man For All Seasons," well-directed by studio master Fred Zinnemann. "Woolf" not only boasts iconic performances across the board, from Sandy Dennis' willowy Honey to Richard Burton and Elizabeth Taylor's scary pas de deux, it heralded a bold new talent and bonafide actors' director, in Mike Nichols, who came from the stage to the screen like an angry bat from hell.

Jack Nicholson Chinatown
Jack Nicholson in 'Chinatown'

What won? "The Godfather Part II"
What should have won? "Chinatown" (Amazon)
Happy was the day the Academy accorded two best picture nominations to still-budding director and studio enfant terrible Francis Ford Coppola, for "Godfather Part II" and passion project "The Conversation." But who should have won that night? Roman Polanski's "Chinatown," the finest achievement of his incendiary career, a neo-noir written by Robert Towne and starring Jack Nicholson and Faye Dunaway that encapsulates New Hollywood at its most muscular and audacious, tapping into the reservoir of film history while rewriting the rules. The debate rages on over which "Godfather" entry is the best, and they're all more-than-worthy of accolades, but let's make room for the little guy.

Apocalypse Now

What won? "Kramer vs. Kramer"
What should have won? "Apocalypse Now" (Netflix)
The horror, the horror. Sure, "Kramer vs. Kramer" is easy to love, affording simple pleasures in the form of a middle-of-the-road domestic drama with well-acted sympathetic characters. But Francis Ford Coppola's unimpeachable masterpiece of war, which the director fought tooth and nail to make for over a year in the waterlogged Philippines, is so much more: a real movie movie, as pure as cinema gets. It racked up a couple of tech prizes, but was shut out in six other categories. Many factors were working against "Apocalypse": first, it was a long-delayed August release whereas "Kramer" came along in late December, and secondly, the Academy saluted Best Picture winner "The Deer Hunter," another Vietnam War movie, the previous year. You don't hear much chatter about "Kramer" anymore, whereas "Apocalypse Now" seared the minds of moviegoers forever.

Kiss of the Spider Woman

What won? "Out of Africa"
What should have won? "Kiss of the Spider Woman" (iTunes)
It was happenstance. At the same time that AIDS victim Rock Hudson's death made headlines, Hector Babenco's "Kiss of the Spider Woman," one of the seminal breakout art films of the 1980s, was opening in New York. The world may have finally been ready for a gay romance between a Brazilian revolutionary and a homosexual pariah, but the Academy wasn't. Predictably, Sydney Pollack's sweeping love epic "Out of Africa" took the top prize. But "sleeping" is more like it, because that's what I've done every time I've tried to watch this movie, an Oscar package from the get-go given the chemistry of stars Meryl Streep and Robert Redford, both Oscar nom could-be's this year. For his go-for-broke, wonderfully flamboyant performance in "Spider Woman," William Hurt did take home the Best Actor Oscar.