This Had Oscar Buzz

After passing off the reins of Veep, Armando Iannucci returned to movie screens with another political satire. Based on the graphic novel, The Death of Stalin farcically recounts the last days of the dictator and the scramble for power in the days after. With stars like Steve Buscemi, Jason Isaacs, and Simon Russell Beale, the film received solid reviews at its 2017 TIFF premiere and solid box office at its spring 2018 release. But thanks to BAFTA recognition and a Screenplay prize from the National Society of Film Critics, some folks predicted The Death of Stalin for a surprise Adapted Screenplay nomination that never came to be. This episode, we talk about Iannucci’s career and how the surprise screenplay nomination for In The Loop stirred Oscar anticipation for this film as well. We also discuss the correct way to pronounce Buscemi, the film’s balance between serious-mindedness and farce, and our favorites from the film’s ensemble. Topics also include the 2017 TIFF lineup and the 2018 Adapted Screenplay and Supporting Actor races.

Transcribed - Published: 21 April 2025

With the whispers and rumors that Terrence Malick’s Jesus film The Way of the Wind maybe possibly perhaps who knows could finally premiere this year after filming in 2019, we thought it was time to discuss his work. One year after The Tree of Life earned Oscar nominations and the Palme d’Or, Malick had perhaps his fastest turnaround with To The Wonder. A semi-autobiographical tale of a cross-continental love affair souring once it reaches America, the film starred Ben Affleck, Olga Kurylenko and Rachel McAdams as the onscreen love triangle. But once the film premiered at the Venice Film Festival, it earned some of Malick’s harshest notices to date. This episode, we discuss the mixed reception around Malick’s post-Tree of Life work and our own divided thoughts on the film. We also discuss the several famous names left on Malick’s cutting room floor, Javier Bardem’s performance as the town priest, and Rachel McAdams joins our Six Timers Club. Topics also include Roger Ebert’s final review, Kurylenko as an action star, and “to the wonder, to the walls.”

Transcribed - Published: 14 April 2025

As we begin to get hyped for a new Kelly Reichardt film on the horizon with The Mastermind, The Atlantic staff writer Shirley Li joins us to discuss her 2016 triptych Certain Women. The film adapts three Maile Meloy stories into one film, with each following a different woman whose voice is stifled in their Montana circumstances. With several stars populating the ensemble including Laura Dern, Michelle Williams, and Kristen Stewart, its biggest awards success was with its breakthrough star, Lily Gladstone. This episode, we talk about our love for Reichardt’s filmography and Gladstone’s silent long take powerhouse moment in the film. We also talk about Williams as the definitive Reichardt actor, Dern’s comic subtlety in the film, and parallel universes for the Oscar ceremony envelope snafu. Topics also include Lucy, Michelle Pfeiffer, and Reichardt as a purveyor of care.

Transcribed - Published: 7 April 2025

Ooh wee ee ooh ooh ooh ooh wah, Gary! It’s about time we talked about another musical and we’ve got a first time guest this week to join us! Writer Tyler Coates is here to talk about 2014’s Jersey Boys, the screen adaptation of the Tony winning jukebox musical charting the rise of Frankie Valli and the Four Seasons. The film was Clint Eastwood’s return to the cinema after one of his longest directorial sabbaticals, turning out to be a mild summer counter programming misfire. But a few months later, Eastwood would rush American Sniper into a limited release before the Academy deadline, leaving Jersey Boys quickly forgotten. This episode, we talk about jukebox musicals onscreen and the casting of several stage stars in the film, including Tony winner John Lloyd Young as Valli. We also discuss late stage Eastwood, the film’s flat rendering of midcentury tunes, and the same-day AFI premiere’s of Selma and Sniper. Topics also include the 2004 Tony Awards, Joe Pesci as narrative device, and Letterman as Oscar host.

Transcribed - Published: 31 March 2025

We’ve got a new Wes Anderson movie on the horizon, so why not revisit one of his more divisive films: 2021’s The French Dispatch. The film features a bursting murderer’s row of cast members to fill out Anderson’s ode to journalism, a triptych of stories all set within the world of a fictional magazine. Originally promised for 2020’s Cannes Film Festival and delayed more than a year by COVID, the film arrived to American audiences and a growing faction of those growing restless with Anderson’s whole deal.  This episode, we talk about our growing appreciation for the film since release and Anderson’s “nesting doll” approach to storytelling. We also discuss Jeffrey Wright’s celebrated performance, Christoph Waltz’s cameo that lands him in our Six Timers Club, and Anderson’s Oscar history. Topics also include the 2021 Production Design nominees, Anderson’s win for Live Action short, and the weird 2021 official Globes tweets.

Transcribed - Published: 24 March 2025

Perhaps the only silver lining in 2025 is that we have been given a Steven Soderbergh double dip, with both Presence and Black Bag in theatres. Among Soderbergh’s less discussed films is King of the Hill, a Depression-set drama of a boy living on his own in a St. Louis hotel. The film is a gem that showcases a great performance by a young Jesse Bradford (along with a slew of recognizable stars before they got famous), but even positive reviews upon the film’s release didn’t prevent it from being a box office disappointment. This episode, we talk about Soderbergh’s first attempts to follow up Sex Lies and Videotape and Soderbergh’s varied filmography. Topics also include the 1993 Cannes Film Festival, top prominent top 10 lists the film placed on, and the film’s fractured connection to Robert Redford. Topics also include Gramercy Pictures, this era of childhood movies for adults, and tuberculosis.

Transcribed - Published: 17 March 2025

The beloved Bong Joon-ho is finally back in cinemas after his global success with Parasite, and to help us celebrate Mickey 17, we invited Vulture film critic Bilge Ebiri to discuss director Bong’s divisive Snowpiercer. Based on a French graphic novel, the film casts a global set of stars as the occupants of a train in the future whose segments are divided by class. The film was director Bong’s first foray into (mostly) English language filmmaking and became a cause célèbre for film critics and fans alike upon its delayed release. This episode, we talk about the last gasp of Harvey Scissorhands that delayed its American release and the film’s place as one of the first examples of day-and-date release. We also talk about Tilda Swinton’s place in the supporting actress race, Chris Evans vs. Ryan Gosling, and the film’s vision in creating each of the train’s distinct sections. Topics also include recent Sundance piracy, Netflix DVDs, and “babies taste best.”

Transcribed - Published: 10 March 2025

We’re here with your Oscar hangover cure to break the seal on the THOB Class of 2023 and we brought Louis Peitzman along for the chaos. It’s Saltburn time! After the COVID-era Oscar success of Promising Young Woman, all eyes were on Emerald Fennell to deliver again with her follow-up. Barry Keoghan stars in the film as a social climbing Oxford student who freeloads off his wealthy classmate (Jacob Elordi), ingratiating himself to the family as he stays on the eponymous estate. With allusions to Brideshead Revisited and Tom Ripley, Saltburn was safely the most talked about film of 2023 to earn no Oscar nomination. This episode, we talk about the controversies surrounding the film’s sexual content and what makes Fennell such a divisive figure. We also discuss Keoghan’s nude finale moment, Rosamund Pike’s performance as the matriarch, and the film’s mixed reception on the festival circuit. Topics also include needle drops, eyebrow piercings, and movies with bathtub scenes.

Transcribed - Published: 3 March 2025

Oh, the quaint economic anxieties of 20 years ago! We’re tackling 2004’s seriocomic tale of “what if your much younger boss slept with your newly adult daughter” and Paul Weitz film In Good Company, and writer Emily St. James returns to the show to help us unpack it. Modest lighthearted fare, the movie pits dad-mode Dennis Quaid opposite Topher Grace as advertising sales reps in the halcyon days of magazines. While it isn’t without its charms, the film was wedged into the very end of the season and didn’t make enough waves to earn much awards love. This episode, we talk about the film’s intergenerational dynamics and the then economic anxiety of young people taking all the boomers’ jobs. We also talk about Scarlett Johansson’s high demand after Lost in Translation, the Oscar Original Song quality gap, and Clark Gregg joins our Six Timers Club. Topics also include dad music needle drops, The Sisterhood of the Traveling Pants, and what went down on the set of The Brutalist. Preorder WOODWORKING by Emily St. James

Transcribed - Published: 24 February 2025

What a delight to have not one but TWO pals join us this week, The B-Side hosts Dan Mecca and Conor O’Donnell! Naturally, we’re going back to forgotten films from the 1990s with director Alan Pakula’s final film, The Devil’s Own. The film starred Brad Pitt as an IRA member hiding out in America opposite Harrison Ford as the police officer who shelters him. Presenting a very Americanized version of the Irish Troubles, The Devil’s Own is just about the mildest and best looking movie disaster you’ll find in the 1990s. This episode, we unpack the tumultuous making of the film and how its on-set tug-of-war is still discussed. We also discuss Pitt’s notoriously derided dialect in the film, Ford’s relationship with male costars, and Pakula’s tremendous filmography. Topics also include cinematographer Gordon Willis, Edward Zwick’s memoir, and Oscar movies about the Troubles.

Transcribed - Published: 17 February 2025

It’s been a minute since we talked about Meryl Streep, so we decided what better time than Valentine’s Day and her 2012 romantic drama Hope Springs. Streep stars alongside Tommy Lee Jones as a sexually frustrated older couple who submits to a couples therapy retreat (led by Steve Carell) hoping to rekindle their spark. Summer counterprogramming to the Batmans and the Bournes, the film performed at the box office but did not prove the type of Meryl summer smash that has earned her Oscar love. This episode, we talk about the movie’s quaint but honest depiction of generational sexual frustration and the solid work from Streep and Jones. We also discuss the underutilization of its recognizable supporting cast, Carell joins our Six Timers, and the timeless Globes presentation pairing of Will Ferrell and Kristen Wiig. Topics also include Sex Trips For Straight Women From A Gay Man, Meryl’s third Oscar, and love languages.

Transcribed - Published: 10 February 2025

We’re breaking a little bonus episode recounting our thoughts from this year’s Sundance Film Festival! We’ve closed out another year of virtual screenings, and what perhaps might be the last year to do so after piracy of festival films such as Twinless and Selena y Los Dinos. Topics include our mutual dislike for the US Dramatic Grand Jury Prize winner Atropia, our mutual love for Plainclothes, and a whole lot more films coming to you soon such as Train Dreams, By Design, and Bubble and Squeak!

Transcribed - Published: 6 February 2025

With I’m Still Here garnering praise in this year’s awards race, we thought it would be a great time to talk about Walter Salles – and, well, things turned out great with a surprise Best Picture nomination for Salles and company. After earning stateside honors with films like The Motorcycle Diaries and Central Station, Salles took on an ambitious and long-gestating project: an adaptation of Jack Kerouac’s On the Road. With a starry cast and impeccable craft team, the film received a mild-to-dismissive reception at its Cannes premiere and struggled throughout the season to regain traction. This episode, we praise the work of Salles (including in this divisive film!) and mention the many names that were previously attached to bring the landmark book to the screen. We also talk about Kristen Stewart during the height of Twilight, Salles’ reedit of the film before its fall release, and the supporting cast that includes the likes of Amy Adams, Viggo Mortensen, Elisabeth Moss, Alice Braga, and Kirsten Dunst. Topics also include IFC Films, the 2012 National Board of Review Top 10 Independent Films, and other beat generation films.

Transcribed - Published: 3 February 2025

We’ve finally made it to this year’s crop of Oscar nominations, which means we have come to our annual tradition of welcoming a new class of would-be awards hopefuls to the ranks of This Had Oscar Buzz. This week, we go long on everything that stirred some Oscar chatter between now and pre-production, with categories we deem our most surprising films to miss, films we’re happiest got snubbed, and much, much more!!

Transcribed - Published: 27 January 2025

As Lee-ver comes to a close (maybe?!), we decided to revisit a recent Kate Winslet vehicle that’s also a fun antidote to tHesE tiMeS. In 2015, Jocelyn Moorhouse (a director we love talking about here on THOB) returned with the TIFF premiere of The Dressmaker. Adapted from the Rosalie Ham novel, the film stars Winslet as a woman returning to her small Australian town – and bringing couture and a spirit of vengeance with her. With Judy Davis as her town outcast mother and Hugo Weaving as the town’s queer cop, the film got a little lost in the shuffle when Amazon released it the next year. This episode, we talk about Davis’ two Oscar nominations and her legendary performance in Life with Judy Garland: Me and My Shadows. We also discuss Sarah Snook’s Girl with the Dragon Tattoo audition, Liam Hemsworth as Winslet’s love interest of unclear age, and 2016 Supporting Actress. Topics also include the 2016 Costume Design nominations, small town outsiders, and Winslet as movie star.

Transcribed - Published: 20 January 2025

And we’ve made our way to “movies that exist only as a title” royalty, We Don’t Live Here Anymore. In 2004, this marital drama arrived at Sundance boasting several indie aughts heatseekers: a post-You Can Count On Me Mark Ruffalo, a post-Oscar nom Naomi Watts, Six Feet Under‘s Peter Krause, and the always buzzy Laura Dern, all wrapped up in an adaptation of Andre Dubus. This grim look at two literary-adjacent married couples facing the abyss of infidelity earned especially strong notices for Dern, but never caught fire in a year where Sideways dominated the independent scene. This episode, we look back at the first year of Warner Independent and Laura Dern joins our Six Timers Club. We also discuss Dern’s place in the 2004 Supporting Actress race, the work of cinematographer Maryse Alberti, and the 2004 Sundance lineup. Topics also include director John Curran, the Waldo Salt Screenwriting Award, and photoshop marketing.

Transcribed - Published: 13 January 2025

This week’s episode is a callback to our beloved 100 Years, 100 Snubs May miniseries: Mitchell Beaupre joins us to talk about 1995’s Devil in a Blue Dress! Carl Franklin emerged with the indie success of crime thriller One False Move and moved onto studio filmmaking with Devil in a Blue Dress, starring Denzel Washington as a veteran hired to find a missing woman. The film was a smart noir exercise that nevertheless didn’t quite catch on with audiences, though critics were taken with an unpredictable supporting player, Don Cheadle. This episode, we discuss the controversy over 1995’s all white acting nominees and the origin story quality of the film’s story. We also talk about Franklin’s unique awards haul for One False Move, Washington’s atypical lack of love interest costars, and how Cheadle’s performance feels like it has more screen time than it does. Topics also include 1995 Best Supporting Actor, 2003 Entertainment Weekly as Oscar gateway, and Jennifer Beals as anti-femme female.

Transcribed - Published: 6 January 2025

For New Years week, the auld acquaintance that won’t be forgot on our show is… a grim French drama about broken bodies. In 2012, Jacques Audiard returned to Cannes with Rust and Bone starring Marion Cotillard and Matthias Schoenaerts as reluctant lovers healing through personal tragedies. The film left Cannes with no prizes but with a lot of buzz for Cotillard, which came on strong throughout the precursor season. But with a Best Actress field in flux, a few surprise ascendant nominations left an early contender like Cotillard in the dust. This episode, we talk about our experience of liking the film less on rewatch and the trend of Cannes films becoming Oscar players in the past decade. We also talk about our issues with Emilia Perez, the film missing out on being the French International Feature submission, and the season that led to Cotillard’s Best Actress win for La Vie En Rose. Topics also include Katy Perry, the 2012 Cannes lineup, and Audiard’s Palme for Dheepan.

Transcribed - Published: 30 December 2024

Just in time for Christmas, we’re covering a seasonal favorite… or one you love to hate, depending on the corner of the internet you occupy. In 2003, Richard Curtis decked the halls of the ensemble romantic comedy mold with Love Actually. Telling several stories of love and heartache among Londoners during the holidays, Love Actually has since achieved a cult status of fans along with a myriad of thinkpieces about several of its subplot. But at the time, it was a surprisingly devastating supporting turn from Emma Thompson and a star-making turn from Bill Nighy that earned the film its buzz. This episode, we unpack each of the romantic subplots of the film and Richard Curtis’ recent honorary Oscar. We also talk about other Christmas classics, how the film time capsules post-9/11 culture between America and the UK, and 2003 supporting contender musical chairs. Topics also include ugly jewelry, the film’s needle drops, and Oscar nominations for Christmas movies.

Transcribed - Published: 23 December 2024

Guess who’s back in the house?! We finally close the loop on the 2018 troubled son trifecta of films with Ben is Back, a grim Christmas tale of a family in the throws of addiction recovery. Lucas Hedges stars as the titular Ben, who returns home from a recovery center for the holiday, and against the advice of his sponsor. Ben’s presence is somewhat unwelcome, even with the complicated feelings of his doting mother (played by Julia Roberts), and it’s not long before the demons of his addiction come to haunt. The film lingered just outside of predictions in a competitive year before an unceremonious and short-lived December release. This episode, we talk about the film’s portrait of the opioid crisis and the career of writer/director Peter Hedges. We also talk about the 2018 Best Actress race, the film’s very quiet TIFF premiere, and the unfulfilled potential of the August: Osage County adaptation. Topics also include “that’s Ben,” being an uncle, and the AARP’s Best Intergenerational Film.

Transcribed - Published: 16 December 2024

After his comeback stretch of high grossers Gladiator, Hannibal, and Black Hawk Down, Ridley Scott returned in 2003 with a downshift into the character focused Matchstick Men. The film starred Nicolas Cage as a conman with compounding mental health issues who is then reunited with his daughter, played by Alison Lohman. With Sam Rockwell as Cage’s partner in con, the film played both Venice and TIFF to a positive critical reception, but was ultimately forgotten by awards voters by the end of the year. This episode, we discuss Scott’s waning Oscar chances this year for Gladiator 2 and Scott is our first director to get a Six Timers quiz. We also discuss Cage’s stretch between his Oscar win and the Adaptation nomination, Lohman’s transformation into a teenager, and Rockwell’s emergence into a beloved character actor in the early 2000s. Topics also include the audience response to City of Angels, local bakeries, and Nutcracker and the Four Realms.

Transcribed - Published: 9 December 2024

We have another episode from one of our beloved sponsor tier patrons from Patreon, this time returning us to our beloved movie year 2003! After becoming a 2002 British megahit, Bend It Like Beckham launched in the US at Sundance before becoming an early 2003 summer crowdpleaser. Directed by Gurinder Chadha, the film follows Jess (Parminder Nagra) as she secretly joins a soccer team against the wishes of her traditional Indian family. With nominations from the WGA and the Golden Globes, Bend It Like Beckham ultimately did not manage an Oscar nomination for its upbeat look at teenage womanhood. This episode, we talk about Fox Searchlight’s 2003 lineup and 28 Days Later as a fellow UK crossover hit. We also discuss the film’s shoehorned romantic subplot, Parminder Agra’s run of prominent television roles, and costar Keira Knightley’s trio of breakthrough 2003 roles. Topics also include international nominee Lagaan, the film’s soundtrack, and sports movies.

Transcribed - Published: 2 December 2024

As is our Thanksgiving week tradition, The Ankler’s Katey Rich returns to talk about another film with indistinguishable young actors. In 2022, fans and awards prognosticators were hyped for Harry Styles to make the leap to movies and leading man stardom. Amidst the gossip for Don’t Worry Darling, literary adaptation My Policeman loomed, with Styles cast as a man caught in a bisexual love triangle between his wife (Emma Corbin) and the art curator (David Dawson) he secretly loves. The film flashes forward to their older selves as they grapple with the consequences of their actions. All that hype amounted to a film quickly forgotten between its world premiere and its Prime debut. This episode, we talk about Styles’ disappointing and brief jaunt into films including Dunkirk and Eternals. We also talk about DWD Watch 2022, the film’s TIFF Acting Tribute honor for its ensemble, and the film’s much ballyhooed gay sex scenes. Topics also include Brokeback Mountain, Emma Corrin’s other 2022 contender Lady Chatterley’s Lover, and the spit.

Transcribed - Published: 25 November 2024

SURPRISE! By now, you’ve heard that Joe has launched Demi, Myself, & I, a film-by-film trip through the career of Demi Moore. As a special bonus, we’re giving you a sneak preview of the pod’s new episode on one of Moore’s most popular films, Ghost! And along for the ride is beloved former THOB guest, author and co-host of Who? Weekly Bobby Finger! ENJOY and subscribe for more of the show at patreon.com/demipod.

Transcribed - Published: 21 November 2024

This week’s episode comes selected by one of our sponsor tier patrons over at our Patreon! The 2017 festival season brought us Chappaquiddick, director John Curran’s recounting of the titular incident where Senator Ted Kennedy was responsible in the accidental death of party secretary Mary Jo Kopechne. With Jason Clarke as Kennedy and Kate Mara as Kopechne, the film earned solid festival reviews (with even stronger notices for Clarke) but a planned qualifying release before the end of the year never came to be. This episode, we talk about the short life of Entertainment Studios Motion Pictures and the 2017 qualifying release for the film that was canceled. We also talk about Clarke’s career in grunt roles, the film’s frustrating post-script in relation to Ted Kennedy’s career, and Bill Crystal’s Oscar hosting duties. Topics also include vague movie titles, TIFF Galas, and Frederica Kimmel’s friend.

Transcribed - Published: 18 November 2024

After Diner earned an Oscar nomination for its screenplay and the hearts of dads everywhere, writer/director Barry Levinson’s star quickly rose in Hollywood, culminating in Rain Man sweeping the Oscars. In the 1990s, Levinson had his share of hits and misses, but ended the decade with the final entry of his Baltimore films, Liberty Heights. The film tackles antisemitism and racism in the midcentury from a boomer lens with a young cast led by Ben Foster and Adrien Brody, but even strong reviews failed to draw an audience or the attention of awards voters. This episode, we talk about Levinson’s filmography and the film atmosphere that led to this film being quickly forgotten. We also talk about Foster’s recent output overlooked by Oscar, Joe Mantegna’s career before being lost to the CBS soup, and Brody being mostly cut out of The Thin Red Line. Topics also include Forget Paris, Bebe Neuwirth cast as a mom shortly after the Chicago revival, and retro movie chain pre-shows. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 11 November 2024

Michelle Pfeiffer is a screen legend whose return always feels like an occasion–even if we’re all stuck at home. In 2020, Azazel Jacobs’ French Exit debuted at the New York Film Festival with Pfeiffer starring as a wealthy New York eccentric who loses her fortune and absconds to France, all while perhaps haunted by her dead husband in the form of her cat. Pfeiffer earned strong reviews for her performance, but the film itself proved grating to a number of critics and couldn’t sustain its presence as its release shifted. This episode, we talk about Pfeiffer’s previous three nominations and the chaos of the covid year’s Golden Globe comedy nominations. We also talk about Valerie Mahaffey’s terrific supporting performance, the career of Imogen Poots, and Jacobs’ current contender His Three Daughters. Topics also include our first thoughts on the current Survivor season, the 2020 NYFF lineup, and BAFTA’s changing rules. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 4 November 2024

After the smash box office success and surprise Oscar nominations of The Sixth Sense, M. Night Shyamalan delivered a follow-up in short order. With a mysterious trailer, Unbreakable reunited Shyamalan with Bruce Willis for another genre exercise, this time involving a man who survives a train crash without any injuries. Samuel L. Jackson co-headlines as a frail man with ideas about what makes Willis’ character so special, and the film help cement Shyamalan’s reputation with audiences as a twist guy. But after the widespread affection for The Sixth Sense, this film proved to be something too dark and obscure for audiences. This episode, we talk about Shyamalan’s work and this film’s slightly ahead-of-the-curve look at comic book culture. We also talk about the film’s marketing, Willis and Jackson’s underrated performances, and Willis’ star persona in the 1990s. Topics also include the Unbreakable sequels, James Newton Howard’s score, and 2000 Original Screenplay. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 28 October 2024

Keeping things horror adjacent for your October viewing schedule, this week we are discussing 2022’s The Menu. Originally announced as a collaboration for director Alexander Payne with Emma Stone, The Menu centers on a psycho chef and his high end clientele, who all take part in a super exclusive dining experience from Hell. The film ultimately lost that twosome but inherited Succession‘s Mark Mylod and the in-demand Anya Taylor-Joy, with Ralph Fiennes staying on as the chef. The film was a minor hit with audiences and received critical praise for its ensemble, but distributor Searchlight didn’t get it into Oscar’s good graces. This episode, we talk about the film’s flimsy “eat the rich” satire and Taylor-Joy’s sudden ascent to stardom. We also talk about Hong Chau’s perfect line readings, other recent successful films satirizing class, and Mylod’s work on Succession. Topics also include Fiennes in villain mode, fan culture as represented by Nicholas Hoult, and our current Halloween viewing. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 21 October 2024

With Saturday Night currently in theaters, we are revisiting the films of Jason Reitman for one of his biggest flops. Adapted from the novel by Joyce Maynard, 2013’s Labor Day casts Kate Winslet as a grieving mother who falls in love with the escaped convict (played by Josh Brolin) who hides out in her and her son’s home. The melodrama was something of a creative pivot for Reitman, but received poor reviews at festivals before stumbling towards a qualifying release. A Golden Globe nomination for Winslet was the end of the awards road for the film. This episode, we talk about what makes the film so frustrating and Reitman’s recent output. We also talk about Brolin after his Oscar nomination for Milk, Winslet between her win for The Reader and nomination for Steve Jobs, and the 2013 Golden Globes. Topics also include Friendly’s, No Country for Old Men supporting performances, and Golden Globe predictions. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 14 October 2024

We wanted to take this week’s episode to tribute the recently departed Dame Maggie Smith and finally take a look at one of her final awards contenders, 2015’s The Lady in the Van. Reprising the role she played on the stage, Smith stars as the titular lady, who lives in a van that just so happens to take up residence near the home of playwright Alan Bennett. Alex Jennings stars as Bennett, and the film examines both his evolving relationship with his neighbor and, in metatextual ways, Bennett’s conflicted feelings about telling her story. This episode, we talk about Dame Maggie Smith’s late career resurgence and she joins our Six Timers Club! We also talk about the film’s cameo lineup from the cast of The History Boys, tributes posted after Smith’s passing, and our first Halloween watches of this season. Topics also include director Nicholas Hytner, 2015 Best Actress, and Philo-mania. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 7 October 2024

In 1999, director Milos Forman reunited with his People Vs. Larry Flynt screenwriters Scott Alexander and Larry Karaszewski for another biopic of an iconoclast, Man on the Moon. Rebounding from the Oscar snub for The Truman Show, Jim Carrey took on the role of Andy Kaufman and according to history, took it a bit too seriously. The film received some strong reviews and plenty of precursor action for Carrey (including another Golden Globe win), but the film proved an Oscar misfire for the twice Oscar awarded director and the still unnominated Carrey. This episode, we talk about the industry’s (perhaps snobby) perceptions of Carrey and the faux method acting by Carrey that would later be documented by Jim and Andy. We also talk about the Alexander/Karaszewski biopic mold, Carrey’s biker chic MTV Movie Award acceptance speech, and the film’s reverence for Kaufman’s legacy. Topics also include 1999 Best Actor, R.E.M., and “Courtney Love is in dire need of attention right now.” Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 30 September 2024

We’re back again with another episode chosen by one of our sponsor-tier subscribers from Patreon, this time with a bit of 1990s gay cinema! Thank you Lance for bringing us all to 1995’s Jeffrey! Adapted from Paul Rudnick’s Off-Broadway smash play, the concept of an “AIDS comedy” made it difficult to get produced, but ultimately unique once it reached theatre audiences. Despite playing to a limited audience on film and taking a broad comedic approach to the culture surrounding gay life in the 1990s, Patrick Stewart’s performance as an interior designer diagnosed with AIDS earned some bit of buzz. This episode, we talk about the career of Paul Rudnick and the types of gay cinema that emerged in this moment of American independent filmmaking. We also talk about Stewart’s surprising lack of awards history, Bryan Batt’s performance as Stewart’s lover, and Christine Baranski hosting a “hoedown for AIDS.” Topics also include TikTok smash videos, “start my orange for me,” and Debra Monk talking gay stuff. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 23 September 2024

We’re back from our annual trip to TIFF and we’re giving you another exhaustive episode on all the films we saw! Topics include the newly minted People’s Choice winner The Life of Chuck, Oscar nominations we are anticipating from the lineup, the muted-mixed response to Saturday Night, Nicole Kidman back in full force in Babygirl, the rapturous response to world premiere Hard Truths, and our differing thoughts on this year’s Palme d’Or winner Anora. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 16 September 2024

With another George Clooney film on the horizon with Wolfs, it’s time to revisit the diminishing returns of his directorial career. In the 2013 season, his WWII quasi-comedy true story ensemble film The Monuments Men was an on-paper awards magnet. With a cast that included Clooney, Matt Damon, Cate Blanchett, John Goodman, and Bill Murray as a team attempting to rescue centuries worth of art from destruction by the Nazis, the film released two underwhelming trailers before being punted into the next year. Released in February 2014, the film made much more money than you probably remember, but failed as an awards vehicle. This episode, we rehash Clooney’s directorial career and discuss the film’s struggle in the editing room. We also talk about the film’s mismatching of its stars into pairs, Jean Dujardin’s Oscar run with The Artist, and Clooney’s reaction to Tarantino saying he’s not a movie star. Topics also include Drunk History, Tim Walz’s summer playlist, and Alexandre Desplat. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 9 September 2024

Underdiscussed in the Mike White oeuvre is 2017’s Brad’s Status, the story of a father reflecting on his own formative college years while taking his son on a college visit. With Ben Stiller center stage, the film examines privilege and maleness with White’s exacting but humane eye for detail, resulting one of the most emotionally affecting works of his career without sacrificing his penchant for characters who aren’t always likable. Arriving the same year as both the White-scripted Beatriz at Dinner and the Stiller-starring The Meyerowitz Stories, this dramedy was yet another victim of Amazon’s mishandled marketing. This week, we talk about Stiller’s recent years without of major acting roles and what makes this performance one of his best. We also talk about Austin Abrams’ performance as Brad’s son Troy, White’s other portraits of class, Stiller’s upcoming return in TIFF opener Nutcrackers. Topics also include daydreams, Annapurna Pictures, and 2017 Original Screenplay. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 2 September 2024

A film with strong festival reviews that gets dumped to cable television because its commercial prospects appear slim? Sounds like something ripped from today’s cinema headlines, but it’s the case for this week’s film, Rodrigo Garcia’s Things You Can Tell Just By Looking At Her. Led by a prestigious cast of awards show mainstays, the film is a tapestry of loosely interconnected stories that detail the inner lives of women living in the San Fernando valley. After successful trips to both Sundance and Cannes, the film’s distributor sold the film to Showtime when even its good reviews weren’t considered enough to merit a theatrical release. This episode, we talk about the understated work of writer/director Garcia and the critical community’s reaction at the time to the film’s punting to cable. We also talk about Calista Flockhart’s run on Ally McBeal, Kathy Baker and Valeria Golino’s absence from the film’s marketing, and how Glenn Close and Holly Hunter went from Oscar beloveds to Emmy perennials. Topics also include the Emmys, MGM’s then-looming bankruptcy, and the Tyra Banks game. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 26 August 2024

With the upcoming return of Mike Leigh to cinemas with Hard Truths, we invited writer and Fran Mag creator Fran Hoepfner to join us to talk about his last theatrical effort, 2019’s Peterloo. The film tells the story of the buildup to the Peterloo massacre, in which years of political movement to get parliamentary representation for the people of Manchester resulted in bloodshed. Told with the attention to detail that has long been Leigh’s trademark, the film had a cold fall festival response in 2018, which led American distributor Amazon to punt the film to an unceremonious 2019 release. This week, we dive into the film’s underrated and underexamined merits and what contributed to its unfair reception. We also talk about our anticipation for Hard Truths, this film’s lack of marquee Leigh players, and some of Leigh’s other undervalued films. Topics also include the film’s political timeliness, Amy Raphael’s Mike Leigh on Mike Leigh, and Leigh on the THR Director Roundtable. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeilFran: @franhoepfner

Transcribed - Published: 19 August 2024

Time to get controversh with with one of the most argued about films of the century, 2000’s American Psycho. Based on Bret Easton Ellis’ lightning rod novel, the film passed through multiple directors before landing in the inspired hands of Mary Harron. The independent director struck the right satirical note on Ellis’ difficult blend of consumerism and masculinity, and found a flawless muse as the titular psycho Patrick Bateman in Christian Bale. But the film’s sex, violence, and dark humor incited its own controversies and was too much for the Academy despite the praise for Bale’s performance. This episode, we talk about the film as a launchpad for Bale’s adult career and how his lesser known status at the time almost lost him the role. We also talk about Bateman’s musical obsessions, the other casting choices for Bateman, and Reese Witherspoon joins our Six Timers Club. Topics also include the Broadway musical version, the 2000 Sundance Film Festival, and 2000 Best Actor. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 12 August 2024

With Anora anointed with the Palme d’Or this year, one of the narratives ahead in the coming season will be whether Sean Baker’s microbudgeted cinema will be embraced by the Academy in a big way. After lots of buzz for Tangerine and an acting nom for Willem Dafoe in The Florida Project, Baker was buzzed again for Red Rocket and its showcase performance for Simon Rex. With Rex as a manipulative down-and-out porn star returning to the small town that cast him out, Red Rocket‘s moral minefield and rueful comedy was ultimately not embraced by Oscar. This week, we talk about Rex’s dynamic performance and the film’s recreation of the 2016 election cycle. We also talk about the meta elements of Rex’s casting, Baker’s rise among the ranks of independent cinema, and the 2021 Cannes Film Festival. Topics also include donuts, 2021 Best Actor, and READ posters. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 5 August 2024

We’re talking about Gwyneth Paltrow’s red hot 1998 this week and who better to join us than author and Who? Weekly co-host Bobby Finger?! With a slew of movies to aid her ascendancy, Gwyneth Paltrow wasn’t having a moment in 1998, she was the moment. It all kicked off with the Sundance debut of romcom Sliding Doors, a film that cast Paltrow as a woman whose fate is determined by whether or not she makes the subway. Showing us both what happens if she does or doesn’t make that train, the film made Paltrow a buzzy figure, but itself was usurped as an awards vehicle by Shakespeare in Love. This week, we talk about the concept of having “a Sliding Doors moment” and how the film is much wilder than we remembered it. We also talk about Bobby’s new book Four Squares, Paltrow’s Oscar season SNL hosting duties, and the film introducing us all to “Thank You” by Dido. Topics also include video rental store wall real estate, Miramar, and the formative vibes of Richard Curtis. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeilBobby: @bobbyfinger

Transcribed - Published: 29 July 2024

our old friend Kevin O’Keeffe and Texas native for a very Texas movie. Debuting in 2011 but arriving in theaters, Richard Linklater’s Bernie accounts a real-life Texan wink wink bachelor Bernie Tiede (played by Jack Black), beloved by the church ladies and local community. However, he is taken in by the town villain Margie (Shirley MacLaine) and ends up convicted for her murder, but not necessarily in the court of public opinion. Though the film was recognized as comedy (especially for Black’s delicate performance), its awards history was largely left as a footnote to the McConaissance. This episode, we talk about the different vibes of Texas cities and the film’s spectacular ensemble of real-life witnesses. We also talk about Linklater’s outsider status to the Hollywood establishment, Black’s preceding failures, and reporter Skip Hollandsworth. Topics also include “one of them CMT girls,” Linklater’s upcoming Merrily We Roll Along, and 2012 Best Actor. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 22 July 2024

We’ve hit another year of the podcast, arriving at our milestone 300th episode! No better way to celebrate that by finally revisiting one of the past decades most notorious bombs, 2016’s Collateral Beauty. Starring Will Smith as a grieving father, this all-star cast includes Edward Norton, Michael Peña, and Kate Winslet as his three friend who devise a plan to… oust Smith from their advertising firm by… hiring three struggling actors (Helen Mirren, Keira Knightley, and Jacob Latimore) to… portray the concepts of Death, Love, and Time that he has been writing letters to, and make him appear mentally unstable. Yeah, this one goes some places! This episode, we talk about how the film’s imbalance with magical realism makes it more deranged. We also talk about Smith’s Oscar-chasing dramatic roles pre-slap, Ann Dowd as a felony committing private investigator, and the previous talent attached to this buzzy but ill-begotten project. Topics also include Winslet joining our 6 Timers Club, Rogue One, and our Best Of ballots for the last year of the show! Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 15 July 2024

This week’s film has Joe and Chris on opposite sides of a divisive reception. The Matrix not only revolutionized genre filmmaking in 1999, but it resulted in a resounding Oscar success. Reception to its first two sequels in 2003 was decidedly unappreciative, but the franchise has received some critical reassessment in the two decades since. Enter 2021’s The Matrix Resurrections, a COVID-delayed and incredibly meta revisiting of The Wachowski’s science fiction world, this time with only Lana Wachowski at the helm. The last of Warner Bros.’ films to be released simultaneously in theaters and online during the pandemic, Resurrections nearly cracked craft categories, but its timing proved unfortunate. This episode, we talk about Oscars relationship to awarding franchises and overlooking later installments. We also talk about our opposing points of view on the film, how the film incorporates new cast members as stand-ins for the original lineup, and the film’s bold meta elements. Topics also include the late 2021 box office, gay villainy, and doomscrolling. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 8 July 2024

Early in the 1990s, two westerns emerged as Best Picture winners when the genre was first thought dead: Kevin Costner’s Dances with Wolves and Clint Eastwood’s Unforgiven. In 1993, those heralded actor-directors would unite for A Perfect World, casting Costner as an escaped convict who takes a small boy hostage and teaches him about masculinity, with Eastwood as the lawman in pursuit while also taking the directing reigns. That pedigree missed the Academy on this round, however, as the film’s downer telling was a poor fit to the holiday season to which it was launched. This episode, we talk about the early poor reception for Costner’s new saga Horizon and our differing opinions on this film’s approach to masculinity. We also talk about Eastwood’s output in the 1990s, Laura Dern’s underserved role as a criminologist, and how the film disappointed for denying audiences an onscreen showdown between its male stars. Topics also include Schindler’s List as the 1993 undeniable frontrunner, Costner’s sex appeal, and the Cahiers du Cinema. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 1 July 2024

Why not derail an originally planned episode to close pride season with a beloved queer 90s film with three praised performances? In 1995, To Wong Foo, Thanks for Everything! Julie Newmar spun a tale of three drag queens on a road trip that get stranded in middle America. Its headliners were two macho movie stars in Patrick Swayze and Wesley Snipes and one emerging theatre actor in John Leguizamo, resulting in Globe nominations for Swayze and Leguizamo. One of a few of the 90s drag centric movie hits, To Wong Foo was ignored by the Academy for both its performances and its costumes, a category won by The Adventures of Priscilla, Queen of the Desert the previous year. This episode, we unpack how the film has stood the test of time in the queer canon and the performances from these straight performers. We also discuss the film’s divine female ensemble, how the film holds up to contemporary expectations for queer cinema, and title punctuation. Topics also include favorite outfits from Snipes’ Noxeema Jackson, the drag road trip movie tradition, and 1995 Best Supporting Actor. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 24 June 2024

We return this week to one of the Oscar years we bemoan the most, 2011, to talk about Jeff Nichols’ Take Shelter. After Michael Shannon landed a surprise acting nomination for Revolutionary Road, it seemed he’d somewhat cornered the market on onscreen psychosis. In this film, he plays a rural father who begins to see apocalyptic visions that may or may not be coming to fruition. As his wife, Jessica Chastain would make her debut when the film premiered to Sundance audiences, already amassing a reputation as the next big thing due to the several films she had coming, including Terrence Malick’s The Tree of Life. This episode, we talk about Shannon’s onscreen persona and how it may shade our perceptions of this film. We also talk about how The Help became the film that Chastain was Oscar nominated for in her breakthrough year, Kathy Baker in Edward Scissorhands, and the film’s divisive ending. Topics also include Sundance 2011 movies, the Death Becomes Her musical, and cozy culture during the apocalypse. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 17 June 2024

Say it with us: confusion! In our episodes where we have discussed 2020, one of the major conversations we’ve yet to really tackle is the confusion around what films would be considered theatrical while most of the country’s theatres were closed. This week’s film occupied that undefined space: Steven Soderbergh’s ensemble comedy Let Them All Talk. Meryl Streep starred as a heralded author reunited on a cruise with old friends who may have inspired her work, played by Dianne Wiest and Candice Bergen. While at sea, conversations of art vs. commerce, authenticity, and inspiration play out in improvisational delight. But alas, no one knew whether Let Them All Talk was a movie or TV. This week, we talk about Soderbergh’s films made for HBO Max and the Oscar nominated performances we would swap out this year in favor of the LTAT women. We also talk about Streep’s career post-The Devil Wears Prada, Wiest monologuing about the night sky, and Murphy Brown vs. Dan Quayle. Topics also include the AARP Movies for Grownups Awards, this year’s Emmy race, and Angels in America. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 10 June 2024

The May miniseries is over and we’re kicking off June with a dose of movie monoculture with 2004’s The Notebook. Adapted from the Nicholas Sparks romance novel, the film’s journey to the screen attracted a range of huge Hollywood names from Steven Spielberg to Britney Spears. The tale of two lovers divided by class in the south, the film captured lightning in a bottle with Ryan Gosling and Rachel McAdams as the lovers and old school Hollywood legends James Garner and Gena Rowlands as their older versions facing dementia. Though Garner would see a SAG Supporting Actor nomination, the industry didn’t recognize what would become a beloved classic. This week, we talk about the film’s double threat appeal between teens and their moms and how Gosling and McAdams recreated the film’s iconic kiss at the MTV Movie Awards. We also talk about Gosling and McAdams’ ascendant careers in the mid aughts, Joan Allen shouting “trash!”, and the unmissable similarities between Sparks movie posters. Topics also include Gosling at the box office, the THOB Conference agenda, and (naturally) the AARP Movies for Grownups Awards. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 3 June 2024

The 70s Spectacular comes to a close this week with actress Natalie Walker joining us to discuss 1979 and Milos Forman’s adaptation of Hair. The brainchild of Galt MacDermot, Gerome Ragni, and James Redo, Hair took Broadway by storm in the late 1960s for its narrative and political audacity, presenting the free-love and anti-war hippie movement of the time. Forman wanted to bring the musical to the screen after seeing the Off-Broadway production, but wouldn’t achieve that goal until after his One Flew Over the Cuckoo’s Nest Oscar victory. This delay turned the once ripped-from-the-headlines musical into old news when it eventually became a film. This episode, we discuss the 2009 Broadway revival and the changes made to the film to give the story a more linear structure. We also discuss the best hair of 1970s cinema, Dustin Hoffman being a monster on the set of Kramer vs. Kramer, and Actors Fund Benefit concerts. Topics also include the follow-up musical Dude, step and repeat falls, and “gliddy glop gloopy”. Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

Transcribed - Published: 27 May 2024