Reception
The film was acclaimed by critics. Gene Siskel and Roger Ebert gave the film "Two Thumbs Up" on their show and both Siskel and Ebert named Hoop Dreams the best film of 1994. Ebert in his initial television review proclaimed "This is one of the best films about American life that I have ever seen", and later called it the best film of the decade. In 2004, The New York Times placed the film on its Best 1000 Movies Ever list. The film currently has a 98% rating from Rotten Tomatoes, with only one negative review (against 47 positive). It has a 92% rating from the Rotten Tomatoes community. The film was ranked #1 on the International Documentary Association's Top 25 Documentaries list, based on polling of members in 2007.
When the film, as well as equally acclaimed Crumb were not nominated in the Best Documentary category of the Academy Awards, public outcry led to a revised nomination process in the category, led by Barbara Kopple. According to Roger Ebert, reliable sources said members of the Academy's documentary nomination committee had a system in which one would wave a flashlight on screen when they gave up on the film. When a majority of the lights flashed, the film was turned off. Hoop Dreams didn’t even make it to 20 minutes.
The Academy's Executive Director, Bruce Davis, took the unprecedented step of asking accounting firm Price Waterhouse to turn over the complete results of the voting, in which members of the committee had rated each of the 63 eligible documentaries on a scale of zero to ten. "What I found," said Davis, "is that a small group of members gave zeros to every single film except the five they wanted to see nominated. And they gave tens to those five, which completely skewed the voting. There was one film that received more scores of ten than any other, but it wasn't nominated. It also got zeros from those few voters, and that was enough to push it to sixth place."
Read more about this topic: Hoop Dreams
Famous quotes containing the word reception:
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
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