Meh.

That's what surprised me most. Not that I loved or hated most of the best picture winners since 1927 but that I didn't have much feeling one way or another. “The Departed”? “The English Patient”? “Rain Man”? “The Deer Hunter”? “In the Heat of the Night”? “From Here to Eternity”? “Lost Weekend”? Did I even see “Lost Weekend”? What do I really remember about it? Maybe better put that in the NOT SEEN group. Only fair.

In his discussion yesterday on the New Yorker site, critic Richard Brody said the switch from five best picture nominees to 10, or 9, or what have you, was a good thing, because it inspired passion among moviegoers. Which is something the Academy is generally good at tamping down. These films are sometimes an example of that.

I certainly have passion for my top 10. I have a different kind of passion for my bottom five. But the middle took a lot of rejiggering and soul-searching. How to rank this movie? By my feeling upon first watching it? By my feelings now? By how much I'd like to watch it again? By how deep it is, or how well it tells its story, or exemplifies its genre?

I wound up choosing an awkward mix of all of these criteria and it was still tough. I kept going back and forth. Am I putting this one low because so many people like it? Am I putting this one high because so many people don't? It's hard to separate your feelings from society's but you give it a go. In the end I thought “Would I rather watch 'Lord of the Rings: Return of the King' right now or 'Driving Miss Daisy'?” I may be the only person this side of Bruce Beresford who would answer the latter. Probably not him, either.

Revelation: I like big and boldly drawn: “My Fair Lady” and “Gone with the Wind” and “Patton” and “Titanic.” Yes, “Titanic.” A friend of mine, a songwriter, always runs across contemporaries who disparage middle-of-the-road work, but he says that's what he strives for. He thinks of it like a mountain, where the middle is the highest point, and the hardest to attain. Some of these big movies do that.

Lesser revelation: I dig the '70s. It was the glory period of American filmmaking, easy riders and raging bulls and all that. It was also the period I first became aware of the Oscars. I was coming of age then. The Academy seemed important then. Maybe it was. Maybe it honored more important movies. And even when it didn't, as in '76, choosing “Rocky” over “All the President's Men,” “Network” and “Taxi Driver,” well, its choice was still a good movie. “Rocky” is another boldly drawn story but finely defined along the edges. It has patience and grit. It tells its tale really, really well. It's not its fault it had so many awful children.

Sometimes the titles get in the way. They're so storied, I think, “Shouldn't this be higher?” Then I think about what the film is, what it lacks, and go, “Meh.”

But, really, you can make your argument for No.s 25 through 60 and I'll probably buy it. To do this properly, I'd have to watch all of these movies again but who wants to do that? They're only best pictures.

Final note: I've also included a column on the greatest disparities between my opinion and the mass opinion on IMDb. No surprise: The movies I love and they didn't tend to be musicals. There's a +63 variance for “An American in Paris,” +41 for “West Side Story,” and +35 for “My Fair Lady.” The next one is “Titanic,” which feels like a musical. On the other side of the equation, movies they loved and I didn't, we have the recent and the blockbusty: “Forrest Gump” at -57, “The Lord of the Rings: Return of the King” at -52, and “Braveheart” at -50. We agreed on exactly two: “The Godfather” and “Cuckoo's Nest.”

Enjoy. Your results will vary.