The winner of the 1949 awards, All the King’s Men is an interesting example of how a good movie can be made by accident… but can a film be accidentally great?

The Heiress is the second movie in 3 weeks where producers tried to make Olivia de Havilland "ugly" to win an Oscar. De Havilland plays, rather unconvincingly, a wealthy young woman in the mid-1800s courted by a gold digging Montgomery Clift as the ur-f*ck boy, who runs away and abandons her the minute her abusive jerk of a dad threatens to take away her inheritance. Despite its many flaws, once she is allowed to be an actual adult in the last 20 minutes of the film, Hell hath no fury like Olivia de Havilland scorned, which just might be worth the preceding hour and a half… maybe.

Based on a serialized novel that was printed in Cosmo, A Letter to Three Wives is an absolutely bonkers film about an off-screen narrator running off with the husband of one of her so-called best friends, and then sending all of them a letter telling them to guess which one. Really. It is really about that.

The Snake Pit, based on the autobiographical book of the same name, is the story of one woman’s experience inside a mental institution, and the treatment, both cruel and sympathetic, she receives at the hands of the mental health industry. Olivia de Havilland stars in one of those roles the Academy loves— typically pretty and elegant woman wears slightly less makeup and has somewhat disheveled hair for 2 hours and it’s considered oh-so-brave! Also, David and Suzan reveal their pick for the Best Picture of 1948— and it’s not the Academy’s.

For decades after its release, The Red Shoes remained the most popular dance film ever created, surely for the 20+ minute dream ballet sequence toward the middle of the film. But the rest of the movie’s plot, equally infuriating for its sexist love triangle and abuse apologia disguised as artistic genius, is a nightmare.

Johnny Belinda, a movie named first for an infant child barely seen in the film and secondly for the so-called main character onto whom everyone around her projects their own feelings and presumptions rather than just let her express herself, begins the long and frustrating history of the Academy’s effusive celebration of able actors portraying disabled characters in Inspiration Porn.

This week, David and Suzan do what they do best: passionately tear a Shakespeare film adaptation to shreds. This time, it’s the 1948 winner, Laurence Olivier’s Hamlet. And we do mean Laurence Olivier’s, as he directed, starred in, produced, and even added text to this dour slog that, for some reason, became the gold standard for 20th century adaptations of the play, and is largely responsible for why so many people hate it.

The nominees for 1948 start strong with The Treasure of the Sierra Madre, a classic that deserves the designation, starring Humphrey Bogart, Walter Huston, and Tim Holt as itinerant Americans searching for their fortune in 1920s Mexico. A stellar supporting cast, breathtaking on-location sets, and excellent direction from John Huston (The Maltese Falcon) make this a top notch flick. It’s the first movie of the year’s nominees, but it’s already the one to beat.

Take Cary Grant, cast him as a literal, from heaven, with supernatural powers angel trying to seduce the wife of a stuck up, cold, neglectful bishop, and then throw away any lascivious or even interesting ideas that inspires in you when you consider it, and you’ll have the shockingly lifeless The Bishop’s Wife. It’s definitely not the Best Picture that should have been for 1947, but find out what was in this episode!

It's the unusual movie where the child actors at the beginning of the film have a better handle on their characters than the adult actors who play them for the rest of it, but this adaptation of Dickens's Great Expectations holds that distinction. Unfortunately, it makes the rest of the movie a tremendous letdown, and the film takes a confusing turn for the worse when its horribly miscast leads take over, and it muddles key elements of the novel's plot with unnecessary changes.