Oscar bait is an art form, a state of mind, a business model. Its yield includes some of recent American cinema's most resonant triumphs (Titanic, the Lord of the Rings trilogy, The Social Network) and some of its most wretched garbage (Nine, The Lovely Bones, the last decade of Halle Berry's career). Oscar bait is the only reason that grown-ups have anything at all to watch in a movie theater anymore, with four months of awards season compensating for the other eight months of craven superhero franchises, anemic romantic comedies, and whatever Adam Sandler wipes off his shoe. For all the media hand-wringing about television usurping film's grip on our culture's imagination, no one complains about Breaking Bad losing an Emmy to Homeland the way they still yelp on and on about Crash thwarting Brokeback Mountain for a Best Picture Oscar.