When it's on Oscar, Don't Watch It!

This has been my motto eversince I've seen the movie Leaving Las Vegas. There was so much Oscar buzz for that movie. I quickly learned that the critics have very much 'developed' taste for movies. Remember the days when we loved alternative music? We were young, too much into radio, too much time to appreciate music that we found pop to be too common or boring, & we went into alternative & the like. I think that's how critics go. See the fashion shows? Most of them really, where can you really wear them?
Really, these Oscar buzz movies are too weird for the common people. Including me, really. I do not like watching movies that will make me feel depressed, what is the point? Wasn't I doing that for fun? For entertainment? Really, there are just too many movies w/ Oscar buzz that has disappointed me which is why I utterly created this rule for myself "When it's on Oscar, Don't Watch It!"
Here is an article...

http://www.vanityfair.com/online/oscars/2008/12/the-obvious-case-for-benjamin-button.html#entry-more
The Obvious Case for "Benjamin Button"
by John Lopez
December 27, 2008, 2:17 PM
For the Academy to nominate a film for Best Picture, it's not enough for it to simply be one of the best pictures of the year. (Just try and cross-reference the critics' top-ten lists this year with the perceived front-runners.) A Best Picture nominee has to feel like a Best Picture nominee, which requires satisfying a number of commandments. Going through them one by one, it become clear why The Curious Case of Benjamin Button strikes the perfect balance, making it a 100 percent lock despite its 69 percent Metacritic rating.
First, a Best Picture has to have intellectual prestige, but not too much. So, Wall-E is out because, as beloved as Pixar is, animation doesn't seem weighty enough. On the other hand, a Borgesian brain bender like Charlie Kaufman's Synecdoche, New York, is just too cerebral.
Second, the film has to have cachet. Indie darlings Ballast, Shotgun Stories, and Wendy and Lucy don't have a prayer because their combined budgets wouldn't pay the catering for Iron Man and the biggest name between them is Michelle Williams. Then again, an Oscar film can't be too overtly commercial. So, The Dark Knight's runaway DVD sales might make the Academy feel like it's bending to the will of the people.
Finally, a Best Picture has to be about something somber and grand—but not utterly depressing. Thus, light-hearted confections like Vicky Cristina Barcelona or Happy-Go-Lucky are as unworthy as a bitter pill like Revolutionary Road. (Sure, last year the nominees went nihilist, but still, No Country for Old Men beat out There Will Be Blood. The difference: No Country For Old Men had good guys).
If any movie this year is shouting its Oscar cred from the mountaintops, it's The Curious Case of Benjamin Button: it's adapted from an F. Scott Fitzgerald story (there's the prestige) but directed by a commercial director like David Fincher (Se7en, Fight Club) who's not too brainy (Alien 3, Panic Room); it's got the A-list cachet of Brad Pitt and Cate Blanchett, but the indie cred of Tilda Swinton and Julia Ormond; and finally, writer Eric Roth has given it the sobriety of grand themes like loss and the cruelties of time but tempers them with the eternally redemptive power of true love.
Before you start spending your Oscar pool winnings, don't forget the final and greatest commandment in Hollywood. How'd it do this weekend at the box office? Hmm... not bad.