“Raindrops Keep Fallin’ on my Head” from Butch Cassidy and the Sundance KidĪ personal confession: Burt Bacharach is one of my least favorite people on planet Earth. Maybe there’s a jazzier version of this song somewhere in the universe that redeems it, but a dull song in a dull film remains a dull thing. Without a good hook, a downbeat, repetitive melody, and the lugubrious vocals of Audrey Hepburn, “Moon River” fades obnoxiously into the background of your mind where is sticks like tree sap.
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One of the most famous movie songs of the 1960s, this Mancini-penned lullaby is perhaps the ur example of elevator music in its purest form. Wonder has written some of the greatest soul songs ever recorded, but this is definitely on the low end of his spectrum. It’s likely he dusted it off merely to avoid having to start from scratch. Stevie Wonder rattled off this little ditty in 1978, put it on a shelf, and would have perhaps have let it languish there, had he not been asked to write a theme song for the 1984 sex comedy The Woman in Red starring Gene Wilder. “I Just Called to Say I Love You” from The Woman in Red That it is also one of the biggest hits of all time (seriously) may be telling as to how bad pop music was in 1977. The song, ostensibly a love song, has no passion, a dull melody, and a weird antiseptic quality that has it listed often as one of the worst pop songs of all time. “You Light Up My Life” from You Light Up My Lifeįew recall the 1977 film that this tune is from, but most people know the infamy of Debby Boone’s blockbuster cover. It’s hard to work up any enthusiasm for the category this year.Īnd while we all have our favorite Oscar-nominated songs from throughout the Awards’ history, we can all openly admit to one another that the Academy has nominated a lot of truly terrible songs for Best Original Song. Instead we have the not-fun songs from La La Land, a song from a film few saw, and yet another bland Disney ballad. The nominees this year are notably missing songs from Sing Street, the fun songs from Moana, and any of the hilarious tunes from the sinfully overlooked Popstar: Never Stop Never Stopping. The nominated songs are rarely upbeat or clever or deep, so it’s a relief – rather than a triumph – when “Lose Yourself,” “That Thing You Do!,” “Everything is Awesome,” “Blame Canada,” or “Glory” is actually nominated or even wins.Īlso: The Academy’s Biggest Losers | When Oscar Nominations Go Bad Academy voters seem particularly keen on recognizing and awarding the dishwater dullest, dreariest pabulum you have encountered on the pop charts.
The category is, for the most part, a stone cold drag. The above statement – admittedly cynical – is not meant in any way to discount or dismiss the dozens of great songs to be nominated for – and to win – the Best Original Song Oscar, but savvy audiences perhaps understand the sentiment. Collectively, consuming these songs will only take up about 20 minutes of your life, but, given the glacial pacing of the in/famous awards show, it will feel like several hours. The Academy Awards telecast will light up billions of screen this Sunday, which means billions of people will have to face off against one of the most dreaded of all show business traditions: Listening to all of the nominees for Best Original Song, each performed over the course of a single evening.
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