We’re back home from our latest trip to the Toronto International Film Festival! And as always, we’re offering you a buffet of our reactions from a week’s worth of movies that will be coming soon to a theatre near you! We talk about the newest People’s Choice Award winner La Bola Negra, along with the International People’s Choice Award winner (and Best Actor contender for Andrew Scott) Elsinore. Topics also include Julianne Moore earning huge crowd reaction in The Debut, Martin McDonagh’s Wild Horse Nine underwhelming us both, our collective favorite of the fest Mike Leigh’s Tender Loving Care, the TIFF preroll ads, injuries, festival flops, and more!!

After their 2017 exposé of the horrors Harvey Weinstein inflicted upon women for decades, Jodi Kantor and Megan Twohey detailed their process in their 2019 book She Said. Post-pandemic, Maria Schrader directed an adaptation that reflected the lives of both reporters in tandem with their work and their struggle to get women on the record about the case. With a strong and sprawling ensemble led by Zoe Kazan and Carey Mulligan, the film was ultimately met with polite but less than effusive reviews.

This episode, we talk about the film’s struggle with depicting expository process and the perhaps unavoidable comparisons to Spotlight. We also discuss Mulligan’s category fraud campaign in Supporting Actress, Samantha Morton giving one-scene barnburner, and the film’s use of actors in the roles of familiar names in the case.

Topics also include the AARP Movies for Grownups Awards, Ashley Judd playing herself, and MVP Jennifer Ehle.

Celebrating its 25th anniversary this year, Hedwig and the Angry Inch is a musical like no other. A Off-Broadway smash in 1998 from creators John Cameron Mitchell and Stephen Trask, Mitchell also starred as the titular volatile rocker who escaped East Berlin after a forced surgery to live as a woman, only to have her songs stolen by the protege she takes under her wing. For the film, Mitchell also took over directing duties, earning several Breakthrough Director honors for the beloved film, earning a new legion of fans.

This episode, we talk about our origins with the film/musical and how the film shared the summer with another rule-breaking musical, Moulin Rouge!. We also discuss JCM’s rangy directorial output, Miriam Shor’s performance as Yitzhak, and the starry Broadway revival that came a decade later.

Topics also include the 2001 Sundance Film Festival, Andrea Martin, and costume designer Arianne Phillips.

We welcome back Richard Lawson this week to discuss Tommy Lee Jones’s final (to date!) directorial effort, 2014’s The Homesman. Led by Hilary Swank, the film follows a 19th century woman charged to transport three women with “prairie madness” across the Nebraska Territory. With Jones as a wayward man who assists her journey, the film debuted at Cannes and promised a return to the Best Actress race for Swank that never came to be.

This episode, we talk about Swank’s two Best Actress Oscars and Richard details his first experience with Cannes. We also talk about this film’s arrival after neo-westerns made a splash in the late aughts, its reflection on women during old west times, and Meryl Streep’s third act cameo.

Topics also include Ben Schnetzer, Amy Madigan narrating the Donner Party, and Julianne Moore’s sudden arrival in 2014’s Best Actress race with Still Alice.

As The Odyssey continues to prove to be a career peak for Christopher Nolan and possible return to the Oscar stage, we’re looking back at a very different take on Homer’s epic poem. In 2024, The Return reunited Ralph Fiennes and Juliette Binoche as the Ithacan king and queen – but limited the story just to the fallout from Odysseus’s arrival back to his kingdom. Despite the promise of TIFF Gala placement and a holiday release, The Return was met with a shrug on arrival.

This episode, we talk about Ralph Fiennes’s physique-forward performance (eye emoji) and Fiennes in the year of Conclave. We also discuss Charlie Plummer’s brattier take on Telemachus, the film’s lackluster design and aesthetics, and the Oscar hopes for Nolan’s blockbuster.

Topics also include Bleecker Street Film, Penelope’s loom, and Best Picture reunion 20 Questions.

In the bygone moviegoing trend of “interconnected stories of Angelenos,” this week’s episode is a forgotten entry with a loaded cast. Playing By Heart from writer/director Willard Carroll follows multiple stories of romantic struggles, with Gena Rowlands and Sean Connery as a TV chef and her producer husband as the film’s epicenter. With themes of infidelity and HIV/AIDS throughout, the ensemble’s standout was a pre-Oscar Angelina Jolie as a manic actress chasing after a blue-haired Ryan Phillippe. While Miramax put its full weight into Shakespeare in Love, this film fell by the wayside in their awards lineup after mixed reviews.

This week, we talk about Jolie’s breakthrough years with Gia and her NBR prize for this film. We also discuss Gillian Anderson’s rare film performances, Ellen Burstyn serving Hannah Pitt, and Dennis Quaid’s deranged plot line of hoaxing strangers with sob stories at various L.A. bars.

Topics also include the original title “Dancing About Architecture,” AIDS onscreen post-Rent, and being haunted by April Grace.

It’s our 400th episode this week, so we had to go big. What could be more fitting than a notorious bomb with major star pedigree?! No stranger to misfires, Warren Beatty nevertheless was one of the biggest names in Hollywood that could generate buzz with any project – and more prophetically in this case – could have any budgetary or creative demand met. Town and Country was a simple middle-aged sex farce (that Beatty took neither producing or writing credits…) that ultimately resulted in years of reshoots or creative redirections before becoming one of the biggest and most forgotten Hollywood box office bombs.

This episode, we talk about how the film fails to riff on Beatty’s playboy star persona and the film’s troubled production history. We also talk about the numerous rewrites and reshoots that plagued the film, a foul-mouthed Marian Seldes, and and Beatty’s reactions to the film’s disastrous press cycle.

Topics also include Idaho costume parties, cello tattoos, and our favorites from the previous year of the show.

Emmy winner Jeff Hiller joins us this week to talk about one of our beloved Nicole Holofcener’s earliest films. Lovely and Amazing follows a Los Angeles family of women burdened by insecurities, from the mother (Oscar nominee Brenda Blethyn) opting in to liposuction to her two adult daughters who help her with a preteen adopted sister. Debuting at festivals in 2001, the film released the next summer to strong reviews for Holofcener muse Catherine Keener and earned an Indie Spirit win for Emily Mortimer.

This episode, we talk about Holofcener’s style of funny and bracing brutal honesty and this film’s depiction of actor insecurities. We also discuss Mortimer’s showcase scene mentioned in many reviews, Raven Goodwin’s terrific child performance, and some of the forgotten titles from that year’s Independent Spirit awards.

Topics also include Apple Trailers, news bloopers, and tackling Isabelle Huppert.

With Spider-Man: Brand New Day arriving in theatres this week, we’re looking back at director Destin Daniel Cretton’s 2013 debut, Short Term 12. Launched at SXSW and distributed in late summer by micro-indie Cinedigm, the film earned major critical support for its portrait of a child group home populated with compelling characters, both among its residents and the counselors who care for them. Though the tiny film was an unlikely candidate to make it to the big show, Brie Larson earned a Critics Choice nomination that helped boost her Oscar-winning run for Room two years later.

This episode, we talk about Cretton’s later reuniting with Larson over subsequent films and the cast full of future major names like Rami Malek and Kaitlyn Dever. We also discuss Lakeith Stanfield’s powerful (and musical) performance as the most enigmatic resident, John Gallagher Jr.’s Tony win for Spring Awakening, and the 2013 Independent Spirit Awards.

We welcome back Oscar-nominated My Year of Dicks filmmaker Pamela Ribon this week for [gasp] our very first documentary episode! In 1988, Errol Morris made a documentary hit out of The Thin Blue Line. Detailing police corruption and bias that led to the wrongful conviction of Robert W. Wood for a police shooting, the film became a non-fiction landmark for unpacking the the case’s inconsistencies and ultimately led to Wood’s vindication.

This episode, we talk about how the documentary branch overhauled their nominating process in the wake of snubs for films like this and Hoop Dreams. We also discuss the stigma of non-fiction reenactments, how the film would influence later true crime doc style, and Pam’s work on her upcoming documentary, One Act.

Topics also include Morris’ Gates of Heaven, Werner Herzog eating his shoe, and what the hell a malt is.

We’re back talking about Nicole Kidman’s post-Oscar years this week and Griffin in Summer filmmaker Nicholas Colia is here to join us! After winning her Oscar for The Hours, each of the many projects Kidman attached herself to carried some degree of pedigree and buzz. One of them just happened to be a famous disaster: 2004’s The Stepford Wives. A remake directed by Frank Oz and scripted by Paul Rudnick, the film fell subject to bad test scores and a barrage of reshoots that ultimately resulted in a ho-hum release and a notorious production.

This episode, we talk about the gossip around the the numerous reported on-set clashes and how the final film differed from its first versions. We also discuss Kidman’s post-Oscar aughts schedule, the screen debut of Faith Hill, and Oz’s non-puppet directorial efforts.

Topics also include The Producers, pre-Obama gay politics, and the great Griffin Nafly.

After becoming a critical and arthouse sensation with Memento, Christopher Nolan leaped to studio filmmaking with American remake Insomnia. The film (based on the 1997 Norwegian film) stars Al Pacino as a corrupt cop sent to Alaska to solve a murder, only to be caught in the web of the killer (Robin Williams). Though a successful summer release, the film did not ultimately receive the enthusiasm of Nolan’s previous effort, but it would nevertheless catapult him towards his Gotham directing duties.

This episode, we’re talking about the rise of Nolan and how this film stands as one of his more flawed. We also discuss Williams’ era of unsettling characters and subject matter, Hilary Swank between her Oscar wins, and Pacino’s downshift here from bigger late 1990s performances.

Topics also include Memento‘s awards run, old age Makeup nominees, and The Insider.

Letterboxd head of editorial Mitchell Beaupre returns to us this week to close out Pride month with one of Luca Guadagnino’s most divisive films. In 2024, with audiences still under the spell of Challengers, the director also brought to the screen a long-gestating passion project: an adaptation of William S. Burroughs’ Queer. Starring Daniel Craig as Burroughs alter ego William Lee, the film baroquely mines queer longing in an addiction story that earned as many fans as it did detractors.

This episode, we talk about Guadagnino’s preference for Queer over Challengers in the 2024 race and how Craig was in the Best Actor race until the final minute. We also talk about expectations that Guadagnino would return to Call Me By Your Name territory, how this film might troll critics of that film’s sexual modesty, and Lesley Manville’s brief turn as wild doctor in the jungle.

Topics also include Drew Starkey’s breakthrough role as Allerton, Craig plagued by Bond questions, and Jason Schwartzman playing gay in a fat suit.

On deck this week is a sentimental recent fav, Mike Mills’ beautiful black-and-white tribute to modern day youngsters and the state of mind that is “uncle.” C’Mon C’Mon casts Joaquin Phoenix as a radio journalist who takes in his sister’s kid when she has to handle the father’s mental health crisis. With Gaby Hoffman and Scoot McNairy giving great performances as the parents, the film was a gently composed gem that earned its share of ardent fans but failed to garner Oscar nominations.

This episode, we talk about Mike Mills’ emotionally expansive directorial efforts, starting with his 2005 breakthrough Thumbsucker. We also discuss Woody Norman’s surprisingly naturalistic performance, the film’s optimistic vantage on the mind of America’s youth, and how the film was one of many that struggled to gain an audience amidst the Omicron season.

Topics also include A24 in 2021, CODA as the year’s anointed movie about family, and Mills’ upcoming Criterion box set.

We’re back to discussing the filmography of director Ridley Scott this week, though this episode was recorded… before the news of his Honorary Oscar. Nope, there is also a new riff on a Robin Hood this week, so we’re talking his ongoing collaboration with Russell Crowe and their 2010 take on the fable. Arriving at the beginning of the summer, the film did respectable business but failed to match the respect and Academy love for their first epic together Gladiator.

This episode, we discuss the film’s intended origins as a Sheriff of Nottingham film and its final approach as an ensemble piece of political intrigue. We also talk about Oscar Isaac’s eyeliner-forward performance, the miscasting of Cate Blanchett as a Marion more derivative of other female action characters, and Scott’s stretch of darker movies post-Gladiator.

Topics also include the 2010 Cannes Film Festival, the non-controversy of The King’s Speech’s set locations, and slow mo bow and arrows.

With Steven Spielberg returning to theatres with this week’s Disclosure Day, we’re taking the rare opportunity to discuss one of his films! Kyle Amato returns to talk about Spielberg’s take on Roald Dahl’s classic children’s fable The BFG. The film was a reuniting of Spielberg with his recent Oscar winning actor Mark Rylance in the role, all brought to life through ever-evolving motion capture technology. While Spielberg has found some of his greatest successes in family friendly fare, The BFG was one of his most underwhelming at the box office and went quickly forgotten.

This episode, we’re talking about Spielberg’s less well-received films and the many flaws that make this film feel like one of his weakest. We also talk about Rylance’s Tony tally prior to his Oscar win, motion capture discourse, and the dire summer offerings from 2016.

Topics also include Penelope Wilton as a Queen Elizabeth stand-in, Dahl adaptations, and Backrooms.

We’re back after our May Miniseries and it’s Tonys week! Rather than a musical, we’re talking about a movie that disappointed in part because it wasn’t a big screen version of the Broadway smash… In 1998, director Bille August brought a condensed version of Victor Hugo’s Les Miserables to the screen. With Liam Neeson headlining as the legendary man imprisoned for stealing a loaf of bread, Jean Valjean, the film is a hyper focused version of Hugo’s sprawl that is nevertheless a droning bore.

This episode, we talk about August’s two Palme d’Or wins and what this story loses by focusing so closely on only the Valjean/Javert storyline. We also talk about Neeson’s period between his sole Oscar nomination and becoming an action star, Geoffrey Rush cementing his typecast here, and Uma Thurman back-to-back misfires in Batman and Robin and The Avengers.

Topics also include this year’s Cannes, Shine as forgotten Oscar winner, and Claire Danes backbackback again.

CATEGORY IS… comes to a close this week and we’re ending this May Miniseries by looking to the future. Next year’s 100th Academy Awards will bring the Academy’s first award to Stunts! This episode, we go into the decades-long effort to make the category happen, how we want to see the category presented on the monumental telecast, how the 1970s’ craze of disaster movies might have influenced the category, Tom Cruise and the influence of the Mission: Impossible franchise, and of course, our picks for ten films in movie history that we would award with a Stunts Oscar.

Our 2026 May Miniseries CATEGORY IS… continues this week with a discussion about a dreamed-for category that stirred a lot of conversation, particularly in the 2000s. We’re talking about Voice Acting! This episode, we dive into a Disney-centric history of celebrated Disney performances and which of them might have been Oscar frontrunners, from Robin Williams to Ellen DeGeneres. We also talk about voice performances that earned major precursor nominations, Andy Serkis making waves in motion capture as Gollum, and how narration and documentary work might also be considered. And of course: the ten voice acting performances we would hand a retroactive Oscar!

If you make a remake to a cinema classic (and Oscar nominee), chances are the buzz starts there. But in revamping The Manchurian Candidate to the post-9/11 culture, Oscar winning director also added the pedigree of recent winner Denzel Washington and then-recent nomination record breaker Meryl Streep, the buzz multiplied. But this version of a paranoia thriller about a political candidate whose brain has been hijacked was a mild summer success, kept only in the race by Streep in villain mode.

This episode, we talk about whether or not the material comfortably fits in with the era’s concerns and the period after Washington won his second Oscar. We also discuss Liev Schreiber breaking out of Cotton Weary mold, the film’s pseudo-incestuous bath scene, and a double Six Timer hottie quiz for Washington and Schreiber.

Topics also include surprise Ann Dowd, the 2004 Supporting Actress race, and sleeper cell activation phrases.

We’re talking about one of our favorite films of the 2020’s this week with Alice Rohrwacher’s La Chimera. Told with magical realism and an earthy bespoke quality, the 2023 film follows Josh O’Connor as a British archaeologist in Italy who belongs to a crew of tombaroli, grave robbers who sells off their findings. With O’Connor speaking mostly in Italian, the film launched to strong reviews at Cannes but had its fate sealed when Italy chose not to select the film for International Feature.

This episode, we talk about the film’s qualifying release that left it underdiscussed in 2023 and it’s surprisingly long run at New York’s IFC Center. We also talk about Anatomy of a Fall‘s Oscar success despite not being its country’s submission either, Neon’s 2023 Cannes lineup, and O’Connor as king of the last day of Cannes.

Topics also include the linen suit in the film, Rohrwacher’s previous films, and Palme Dog.

As maverick director David Lowery returns to theatres this week with Mother Mary, we’re looking back at his 2013 film Ain’t Them Bodies Saints. The film follows two Texas lovers played by Casey Affleck and Rooney Mara torn apart by a showdown with local police, where he accepts guilt and jail time when she shoots a police officer. The film is an unpacking of romantic outlaw myths that caused a stir at the Sundance Film Festival and helped establish Lowery as one of the most unpredictable directors working today.

This episode, we talk about the influence of Terrence Malick’s Badlands on the film and Lowery’s subversion of story expectations. We also discuss Mara’s filmography between Oscar nominations, Ben Foster’s emergence into character roles, and beloved cinematographer Bradford Young.

Topics also include the 2013 Sundance Film Festival, Santa’s WikiFeet rating, and Chris’s favorite Huppert performance.

With The Christophers finally arriving in theatres, we are returning to the ever-evolving filmography of director Steven Soderbergh. In the period of his one-for-you-one-for-me jostling between micro budgets and mainstream fare, 2011 offered his paranoid eco-thriller Contagion about a virus that overtakes the world. Though the film was an early fall box office success with major Oscar winners as Matt Damon, Gwyneth Paltrow, Kate Winslet, and Marion Cotillard, Warner Bros. only launched the film’s campaign at the end of the season. A decade later, the film would become a major mass rewatch for… totally normal, everyday reasons!

This episode, we talk about Soderbergh’s period between Oscar and “retirement” and Paltrow joins our Ten Timers club. We also talk about Laurence Fishburne and Jennifer Ehle as best in show, our reticence to watch the film during COVID, and Soderbergh’s current underrated era.

Topics also include Paltrow’s terrifying death scene, the 2011 Venice Film Festival, and the Saturn Awards.

We’re journeying back to the early 1990s this week to discuss the forgotten failure Billy Bathgate. Adapted from E.L. Doctorow’s Pulitzer finalist, the film cast Dustin Hoffman as real-life mobster Dutch Schultz opposite a Loren Dean as the fictionalized street kid who falls under his wing. With Bruce Willis in a supporting role at the peak of his fame and Oscar-winning director Robert Benton at the helm, the film ultimately bombed at the box office but earned Nicole Kidman her first Golden Globe nomination.

This episode, we talk about the much publicized clashing between Hoffman’s ego and his reunited director and we have a (gasp) triple Six Timers quiz for Hoffman, Dean, and Stanley Tucci. We also talk about the film’s mild approach to crime material, the 1991 Supporting Actress race, and Benton’s somewhat forgotten Oscar comeback Places in the Heart.

Topics also include Highlander 2: The Quickening, Hook‘s surprising Oscar nominations, and surprise Frances Conroy.

We’re tackling Sam Mendes’ third feature this week, 2005’s war adaptation Jarhead. The film followed Jake Gyllenhaal as Gulf War marine Anthony Swofford trapped in an existential wartime malaise. With a supporting cast that included recent Oscar winner Jamie Foxx and Peter Sarsgaard, expectations were sky high for the film before it received a muted critical reaction and the season proved more positive for Gyllenhaal’s turn in Brokeback Mountain.

This episode, we talk about the film’s craft pedigree that made its on-paper potential sky high, from Mendes to cinematographer Roger Deakins to composer Thomas Newman to editor Walter Murch. We also discuss Gyllenhaal joining our TEN Timers Club, Sarsgaard’s early aught supporting actor run, and how the film cracked the lid on post-9/11 political THOB cinema.

Topics also include Jake thirst gifs, John Krasinski Six Timers, and Oscar winners’ Zodiac signs.

Continuing our Oscar hangover tradition, we’re cracking the seal on the previous Oscar season’s lineup and have we got a doozy of a Class of 2024 title for you! After Joker walked away from the 2019 season with a Golden Lion and an Oscar for Joaquin Phoenix, souring opinions kicked into high gear when follow-up Joker: Folie à Deux was announced. Yes, the sequel would not only be a musical but it would star Lady Gaga as Harley Quinn, and the results were an immediate critical and box office bomb.

This episode, we talk about director Todd Phillips’ middle-finger approach to this sequel and why the original film works against making his case for genre divergence here. We also discuss Phoenix facing the heat for backing out on Todd Haynes, the film’s non-canonical take on the characters, and its off-putting musical stylings.

Topics also include the 2024 Venice Film Festival, The Bride!, and Connor Storrie’s small role in the finale.

We keep losing movie legends, but this week we wanted to memorialize the great Robert Duvall. In 2010, the actor entered the race with Get Low, a tale (based on regional legend) of a town outcast who decides to throw his own funeral. With Bill Murray, Sissy Spacek, and Lucas Black filling out the ensemble, the film is a forgiveness and guilt fable that has its humble charms, but ultimately was unable to net the career honors for Duvall that would come a few years later with (eek) The Judge.

This episode, we talk about Duvall’s Oscar history and his place in some of the most important films of the 1970s. We also discuss Spacek’s post-2000s run of brilliant supporting turns, hostile Today Show appearances, and Sony Classics many 2010 Oscar nominees.

Topics also include Murray Six Timers, video games, and the 2010 Best Actor race.

After the edgy sexual comedy The Opposite of Sex made Don Roos a hot indie name and the drowsy romance of Bouncedampened the vibe, Roos returned in 2005 with ensemble dramedy Happy Endings. With a cast of Lisa Kudrow, Steve Coogan, and Laura Dern, the film looks at the secrets and sexual boundaries of a group of Los Angelenos. But it was the wayward and musical performance by Maggie Gyllenhaal that earned the biggest raves and an Independent Spirit Award nomination.

This episode, we talk about Gyllenhaal’s road to her first nomination for Crazy Heart and she joins our Six Timers Club. We also talk about Kudrow’s upcoming return in The Comeback, Tom Arnold’s critically praised performance, and the film being released in the same summer as LA ensemble Best Picture winner, Crash.

Topics also include Dern in the TEN Timers Club, aughts-y onscreen homophobia, and The Bride!.

After the tremendous success and Oscar comeback for Robert Altman with 2001’s Gosford Park, the idiosyncratic director delivered a more understated work for what would become his second-to-last film, 2003’s The Company. Set within Chicago’s Joffrey Ballet, the film follows a dance company both on and offstage, all in their sometimes less than glamour pursuit of artistry. With Neve Campbell as the star ballerina and Malcolm McDowell as the company’s boisterous artistic director, the film earned positive reviews but its subtleties make for minor Altman that seldom earned enthusiastic consensus.

This episode, we talk about Altman’s possible second place in Director for Gosford Park and his honorary Oscar in 2006. We also discuss Campbell developing the project and pursuing Altman, the payoff from the film casting real dancers, and the film’s shoehorned romance with James Franco.

Topics also include “Maloja Snake,” Diane Warren: Relentless, and dancing in the rain. 

2022’s Amsterdam was a high profile box office dud from disgraced director David O. Russell with timely themes, a big budget, and a ton of stars. The film tells a (partly true) story about fascist maneuverings in America, with Christian Bale, John David Washington, and Margot as a friendship trio who sets out to thwart them after being reunited post-WWII. Though the film earned some fans like critic Richard Brody, it received a somewhat indifferent release by 20th Century Studios and was quickly out of theatres.

This episode, we talk about the film’s scattered look at timely themes and it’s very quiet release. We also discuss Robbie’s high wire performance in Babylon in the same year, Taylor Swift’s brief (and much memed) role, and Robert De Niro joins our Six Timers Club.

Topics also include Best Makeup and Hairstyling, Emmanuel Lubezki’s light resume after winning 3 Oscars, and Drunk History.

Is the “buzzy literary adaptation to Oscar bonafide” pipeline kaput? This week, we’ve got a forgotten, pre-production-buzzy title on deck: 2012’s Being Flynn! Based on Nick Flynn’s memoir Another Bullshit Night in Suck City, the film follows Paul Dano as the author grappling with addiction, grief, and an absent, addict father played by Robert De Niro. While critics praised De Niro’s work as a return to form, the film quickly died at the box office without strong reviews or the noise of a festival launch.

This episode, we talk about De Niro’s eventual Silver Linings Playbook nomination in the same year and his connection to the film’s director Paul Weitz. We also discuss post-Little Miss Sunshine Dano, Julianne Moore gets the rare Ten Timers Club, and the film’s Weitz-ian approach to heavier material.

Topics also include early aughts icon Olivia Thirlby, the film’s title downgrade, and Judd Hirsch’s The Fablemansnomination.

After our Class of 2025 episode last week, we’re doing one of the most requested from the Class of 2023! After his COVID-stunted release (and beloved THOB title) The Nest, Sean Durkin’s next film would be the true and tragic story of the Von Erich wrestling family. With Zac Efron headlining the film as Kevin Von Erich, The Iron Claw compassionately details the family’s legacy of loss and became one of A24’s biggest hits. Naturally, we had to bring Vulture critic Roxana Hadadi back on to help us unpack this story of masculinity, brotherhood, and grief.

This episode, we talk about how A24 skipped the festivals for the film and made it one of the final films seen that season. We also discuss the film’s secret powerhouse Holt McCallany as the Von Erich patriarch, Harris Dickinson and Jeremy Allen White taking different position in the modern hunk hierarchy, and Durkin’s underloved work on Dead Ringers.

Topics also include reality television, The Smashing Machine, and giant onscreen breakfast.

It’s the biggest This Had Oscar Buzz episode every year! Now that we have this year’s crop of Oscar nominations, that means it’s time to welcome a whole year’s worth of films to the THOB fold. We unpack the Class of 2025 in all its glory, from the films that deserved better to the ones that didn’t, from the narratives we fell for and didn’t, from the most forgotten to the close calls. And, of course, we call it for the Valedictorian, the film that will get the first THOB episode from 2025.

As Rachel McAdams returns to movie screens with Sam Raimy’s horror film Send Help, we thought it a good time to look back at one of her most beloved performances to date. In 2023, Kelly Freeman Craig adapted a book beloved by (and controversial for) generations: Judy Blume’s Are You There God? It’s Me Margaret. With Abby Ryder Fortson as the titular Margaret and McAdams as her doting mother, the film is the story of a young woman’s coming of age, including puberty, social dynamics, and religious questioning.

This episode, we talk about McAdams’ subtle and powerful performance and the film’s struggle at the box office. We also discuss Kathy Bates as a Jewish grandmother, the film’s talented young performers, and Fremon Craig’s debut film The Edge of Seventeen.

Topics also include book fairs, our past YA reading favs, and Benny Sadie as father.

We’re finally pulling one of our most passionate entries to our 100 Snubs series, Gus Van Sant’s My Own Private Idaho. Adapted loosely from multiple Shakespeare plays (particularly both Henry IVs), the film follows an epileptic young sex worker named Mike (River Phoenix) as he drifts the globe with his loyal cohort Scott (Keanu Reeves). Van Sant was post-Drugstore Cowboy ascendant when the film arrived, but it’s the Venice Film Festival-anointed performance by Phoenix that got the most attention and helps the film live in bittersweet infamy.

This episode, we talk about Phoenix’s stunning performance and his Oscar nomination for Running on Empty before his tragic death. We also discuss the highlights of Van Sant’s filmography, the unfair ridicule that greeted Reeves’ Bram Stoker’s Dracula performance, and where we would place the film in the 1991 Adapted Screenplay race.

Topics also include the 1991 Venice Film Festival, nipple pulling, and New Queer Cinema.

This episode, we talk about the film’s delightful ensemble of faces of the future and Olivia Wilde’s debut directing duties that earned her a number of first film prizes that season. We also talk about Feldstein’s drubbing during the Funny Girl run on Broadway, Dever joins our Six Timers Club, and the shadow of Lady Bird unfairly set expectations for this film.

Topics also include Forte vs. Arnett, the 2019 Globe Musical/Comedy Best Actress nominees, and “I wish you luck with your trees.”

With Marty Supreme in theatres, we thought it was perfect timing to talk about the Safdies and the gems. And we’ve finally brought in The Ankler’s Chris Rosen to join us! In 2019, the ascendant Josh and Benny Safdie brought us Uncut Gems, an anxiety-inducing comic thriller set in New York City’s Diamond District and hinging on the hubris of dealer Howard Ratner. Howie is played to the gonzo hilt by Adam Sandler, who earned “Oscar for Sandman!” raves, but the film’s strangeness likely kept it out of the Oscar fold.

This episode, we talk about the wild world of the film and Sandler’s full-tilt performance. We also discuss how the 2019 Best Actor race was primed to leave Sandler on the outside, the film’s narrative symmetry to Marty Supreme, and where both Brothers Safdie’s films stand in this year’s race.

Topics also include Billy Crystal hosting, Sandler’s chances for this year’s Jay Kelly, and sports podcasting.

Happy Holidays, Garys! This week, we have some unfinished business with Keira Knightley and who better than our pal, actress Natalie Walker to join us for the holiday season. In 2018, Oscar pedigreed Lasse Hallström and family friendly Joe Johnston adapted the classic Nutcracker story for the screen in a grab bag of Disney certified IP flare. Okay, sure, this isn’t the most THOB-y of titles, but it does give us an excuse to talk about Keira Knightley’s deranged (complimentary) performance and unpack just what the hell each of the titular four realms are.

This episode, we finally get to that Keira Knightley Six (Seven… ugh!) Timers Quiz! We also talk about reshoots that led to Lasse Hallström and Joe Johnston sharing directorial duties, the glorious dance sequences led by Misty Copeland, and Christmas movie Oscar nominees.

Topics also include Polish Oscar winning shorts, seeing the Nutcracker ballet as children, and Morgan Freeman with an eyepatch.

This week, we got one of the most requested episodes finally on the feed. In 2016, Michael Keaton had already had two comeback seasons on the Oscar trail with both Birdman and Spotlight. Neither earned him Oscar gold but our sights were on The Founder, a retelling of the story of McDonalds and the man the made it into American ubiquity. But released in the end days of the Weinstein Company, the film lingered in a purgatory of a qualifying release and never found a spot in a season dominated by Moonlight and La La Land.

This episode, we talk about the return of Keaton after a time away from major movies and his streak in the 1990s. We also talk about Laura Dern in an underserved wife role, another film by John Lee Hancock that better balances its biographical subject, and Nick Offerman and John Carroll Lynch playing brothers.

Topics also include the AARP Movies for Grownups Awards, qualifying release strategies, and Hot Ice Cream.

With a new Benoit Blanc out for you to devour, we decided it was a great time to talk about the great Rian Johnson. In 2012, Johnson delivered his genre hybrid Looper, set in a dystopic future where, through the magic of time travel, a hitman (Joseph Gordon-Levitt) faces off against his older self (Bruce Willis) to stop a mysterious force who’s hunting them. With mind-bending leaps and a stellar supporting turn from Emily Blunt, Looper cemented Johnson’s reputation and led to his hiring for The Last Jedi.

This week, we talk about Johnson’s confident grasp of twisty material and the layered world he creates with Looper. We also talk about Gordon-Levitt’s Willis-riffing turn, Willis’ late career in the years after this film, and Kazu Hiro’s makeup to make JGL look like BW.

Topics also include 2012 TIFF Galas, the 2012 Original Screenplay race, and the blunderbuss.

This week, we are talking about Charlie Kaufman in the director’s chair and how our thoughts have settled on what’s probably his most divisive film. In 2020, Kaufman returned to directing by adapting Iain Reid’s psychologically intense i’m thinking of ending things, told from the perspective of an unnamed woman visiting her new boyfriend’s rural home. With Jessie Buckley and Jesse Plemons at the forefront, the film folds in on itself for daring look at male dissociation.

This episode, we talk about our shifting thoughts on the film and the pricklier reception to Kaufman’s directorial efforts vs. his screenwriting credits. We also talk about Buckley’s swift rise after Wild Rose, Plemons’ television credits, and the film’s use of Pauline Kael.

Topics also include hot Oklahoma!, media consumption, and Toni Collette gets her Six Timers.

Our annual Thanksgiving tradition means The Ankler’s Katey Rich is back! And this year, we’re got a stone cold bummer to go with the turkey! In 2020, while we were all stuck in our homes, Netflix delivered a lockdown crime saga hit with The Devil All the Time. Directed by Antonio Campos, the film follows several generations in rural America as their family history is engulfed in religion and murder between American wars. With a cast of famous young stars like Tom Holland and Robert Pattison, the film garnered strong reactions to its grim tale but no ultimate awards payoff.

This episode, we’re talking about Antonio Campos’ independent cinema rise and later television work. We also talk about Netflix in 2020, Holland balancing Spider-Man with other projects, and umm… what the hell is going on with Pattinson in this movie.

Topics also include accents, covid coping, and Thanksgiving gender binaries.

Outside of his place in the Star Wars canon, Lawrence Kasdan has a quick rise in the 1980s after his debut Body Heat. With multiple Best Picture nominees to his name like The Big Chill and The Accidental Tourist, Kasdan’s status took a downward trajectory in the 1990s, closing the decade with 1999’s Mumford. Starring Loren Dean as a man pretending to be a certified therapist who sweeps a small town off its feet, the ensemble film has its charms and problems in equal measure.

This week, we talk about Kasdan’s directorial career and his multiple screenplay nominations (but no director nomination). We also discuss Jason Lee as a quintessential 1990s performer, how Mumford‘s release was overshadowed by the arrival of American Beauty, and Hope Davis’ best-in-show turn as Dean’s patient-turned-love interest.

Topics also include David Paymer Six Timers, online shopping addiction, and Unsolved Mysteries.

One of 2023’s most quickly forgotten buzzed titles just so happened to star some of the most heralded actors of their generation. Based on the hyped Iain Reid novel, Foe cast Saoirse Ronan and Paul Mescal as a married couple in the dystopian future whose lives are upended with a visit from Aaron Pierre as a corporate representative tasked to prepare the husband for being drafted to a space station. With promise that an artificial “substitute” to take his place at home, the film gets twisty but predictable, leaving critics to quickly dismiss the film.

This episode, we talk about director Garth Davis’ first run of awards success with Lion and the diminishing returns that followed. We also discuss how Saoirse’s Oscar nominations tied to Best Picture nominees, Mescal’s Beatles future, and Pierre’s ascendancy.

Topics also include the 2023 New York Film Festival, Amazon MGM, and Top of the Lake.

We were heartbroken at the news of Diane Keaton’s passing, so we decided to quickly get another of her films in the THOB books. Keaton’s final directorial effort was Hanging Up, based on Delia Ephron’s fictionalized experience coping with distant sisters during the final years of their father’s life. Co-written by Delia and Nora Ephron, Meg Ryan took the lead with Keaton and Lisa Kudrow starring as the sisters and Walter Mathau as the aging father. Originally intended for a 1999 release, the film was received harshly by critics when it was ultimately released in 2000.

This episode, we talk about the behind-the-scenes tensions that played out onscreen and the unfavored collaborations between the Ephron sisters. We also talk about our favorite Keaton performances, Kudrow’s critical success with The Opposite of Sex, and Lisa Schwarzbaum F score reviews.

Topics also include Diet Coke commercials, Everything is Copy, and Keaton tributes.

With Halloween this week and Luca Guadagnino’s After the Hunt now in theatres, what better time to discuss the BONES! The 2022 fall festival season felt like the first real movie moment post-COVID and anticipation was high for Guadagnino reuniting with his Call Me By Your Name star, Timothee Chalamet. Bones and All was a tale of young love and primal urges, an emotional cannibalism story set in the midwest that placed Chalamet opposite the emergent Taylor Russell. Despite the film earning some devoted fans (spoiler: including us!), this gory Badlands riff was probably never going to please the Academy.

This episode, we talk about the divisive reactions that have met some of Guadagnino’s work, including this and After the Hunt. We also talk about Chalamet’s ascent towards Marty Supreme, Russell’s breakout in Waves, and our favorite Luca movies. And surprise: Chloe Sevigny Six Timers quiz!

Topics also include Mark Rylance doing his best Mr. Herbert, the film’s allegorical interpretations, and the 2022 Venice Film Festival.

In the 2011 summer movie season overcrowded with sequels and IP, J.J. Abrams’ Super 8 stood out as an original event film. Arriving with a mysterious marketing campaign that was the Abrams signature, the film follows a group of kids in the late 1970s who capture footage of an alien while shooting a monster movie in their hometown. The film earned early critical praise and was loaded with homage to Steven Spielberg. However, it proved more divisive as consensus begun to settle, with many finding the film to not be all that original or all that satisfying.

This episode, we talk about Abrams’ position as a director both then and now, and we unpack the degree to which the film is successful as a Spielberg retread. We also talk about the film’s mystery box marketing push, the film’s creature design, and co-star Elle Fanning joins our Six Timers Club.

Topics also include the 2011 Visual Effects race, lens flares, and Fanning’s Oscar chances this year.

We love talking forgotten awardsy films here on This Had Oscar Buzz and this week’s episode is a doozy. In 1992, Todd Graff’s off-Broadway play The Grandma Plays was adapted into the film Used People with both a high Oscar and theatre pedigree. The Beeban Kidron film starred Shirley MacLaine as a new widow finding love (in Oscar nominee Marcello Mastroianni, no less) and repairing her strained relationship with her daughters. With brief turns from the Jessica Tandy and Sylvia Sidney, the film didn’t get much further than stray nominations for MacLaine and Mastroianni.

This episode, we make up for our forgotten Shirley MacLaine six Timers quiz. We also talk about why it might be our Most Best Actress movie ever, Marcia Gay Harden dressed up in Barbra Streisand’s Oscar win, and how mean movies are to Kathy Bates.

Topics also include the 1992 Golden Globes, “Queen of the Night,” and Camp.

One of the defining stories of the 2000 Oscar year was the one-two punch of Steven Soderbergh delivering both Traffic and Erin Brockovich, making good on the past decade’s worth of promise kicked off by Sex Lies and Videotape. In 2001, the victory lap was Ocean’s Eleven, a Vegas heist remake that cast some of the biggest names in movies. The film was a box office smash, but ultimately considered just a fun blockbuster romp. It remains a classic but Soderbergh has yet to return to the Oscar club since.

This episode, we talk about the decade leading up to Soderbergh’s Oscar homecoming and the film’s surprising omission from the Globes Comedy races. We also have a quiz heavy episode, with George Clooney and Brad Pitt sharing a double Six Timers Quiz and Julia Roberts enters our Ten Timers Club.

Topics also include the MTV Movie Awards, Don Cheadle’s cockney accent, and the city of Las Vegas.

We’ve got Daniel Day-Lewis back in theaters this week with Anemone, so we’re looking back at one of his few failed Oscar bids. In 1997, Day-Lewis paired up with director Jim Sheridan for the third time in a decade for The Boxer, the tale of an IRA member and boxer released from prison in the waning days of the The Troubles. With Emily Watson as his former lover and Brian Cox as her high-ranking IRA father, the film arrived into theaters with a modest response as the world was being swept away with Titanic fever.

This episode, we talk about the Day-Lewis/Sheridan partnership and Day-Lewis’ breakout roles in the 80s before his My Left Foot Oscar. We also discuss Watson’s powerful screen presence, Cox with a full head of not-white hair, and Sheridan’s diminishing directorial returns.

Topics also include the 1997 Golden Globes, acting nominations we forget happened, and Bella Mafia.

Pair the rising star director Dee Rees with a Joan Didion adaptation and the Oscar-winning Anne Hathaway and you have the kind of on-paper buzz we love talking about here on THOB. But The Last Thing He Wanted, following Hathaway as a journalist whose wayward father mires her in South American arms conflict, ended up being anything but a success. Anticipated heavily on the 2019 fall festival circuit, Netflix ultimately quietly premiered the film at the 2020 Sundance Film Festival and dumped it shortly after.

This episode, we talk about the film’s narrative issues and how its timely exactly pre-COVID and Netflix’s 2020 lineup allowed the film to be quickly forgotten. We also talk about Hathaway as a steadfast committed performer, Rees’ ascendancy with Mudbound and Pariah, and both Willem Dafoe and Toby Jones enter our Six Timers.

We also discuss The Witches, Ben Affleck era of exiting Batman, and Rosie Perez as Co-Worker On Phone.

Joe and Chris are back from the Toronto International Film Festival and it’s time to unpack everything we saw. Though we recorded prior to the announcement of this year’s People’s Choice Award winner, we talk at length about this year’s triumphant Hamnet and the word on the ground about the runners up as well. We discuss our favorites of the festival (neither of which world premiered at the festival), our mutual least favorite film Rental Family, and standout performances from the likes of Amanda Seyfried, Sir Ian McKellen, Josh O’Connor, Ethan Hawke, and many more!

Listeners who remember our The Place Beyond the Pines episode will remember that this is a highly pro-Derek Cianfrance podcast. As his latest Roofman makes its TIFF world premiere, we’re looking back at his most recent theatrical release, 2016’s literary adaptation The Light Between Oceans. The film starred Alicia Vikander and Michael Fassbender as a post-WWI couple whose isolated life caring for an Australian lighthouse is upended when a boat washes ashore carrying a dead man and a crying baby. This melodrama about trauma, responsibility, and the ties that bind was once hotly anticipated before becoming a quickly forgotten Labor Day release.

This episode, we talk about how the final days of Dreamworks’ Disney deal led to its underwhelming release and our anticipation for Roofman. We also discuss Vikander’s Oscar win the previous year, Fassbender becoming overexposed as a leading man, and Rachel Weisz’s emotional turn as the mother of the stranded baby.

Topics also include the 2016 Venice Film Festival, Atonement as a comparison to the film, and Touchstone Pictures!

Michelle Pfeiffer is a favorite to discuss on This Had Oscar Buzz and this week we’re throwing it back to one of her late 1990s melodramas. In The Deep End of the Ocean, Pfeiffer starts as a mother whose young child goes missing. After years of traumatic aftermath, the child reappears in her family’s life, forcing the fractured family to reckon with the dysfunctional coping methods that have kept them afloat. Originally planned as a fall 1998 awards season release, reshoots pushed this one into 1999 and the movie bombed anyway.

This episode, we talk about how the film misfired by repelling the very audience it appealed to and Pfeiffer’s late 1990s output. We also talk about the assumed prestige that followed Oprah’s Book Club adaptations, director Ulu Grosbard, and Jonathan Jackson’s run on General Hospital.

Topics also include YoungStar Awards, high school reunions, and Oprah playing gay.

After an indie one-two punch of Pi and Requiem for a Dream, Darren Aronofsky was riding high as one of the major emerging directors at the turn of the century. For his next film, he would graduate to big budget studio fare with The Fountain, an ambitious and era-spanning science fiction tale of love and death. The scaled-down version that reached 2006 cinemas starred Hugh Jackman and Rachel Weisz and remains a love-it-or-hate-it head-scratcher that nevertheless fits perfectly within Aronofsky’s continued themes of the body and soul.

This episode, we talk about all that went down with the canceled version of the film set to star Brad Pitt and Cate Blanchett. We also talk where we stand with Aronofsky’s work pre-Caught Stealing, Jackman breaking away from Wolverine, and our deep affection for Clint Mansell’s score.

Topics also include Eddington, tree sap, and Donna Murphy doing science.

We are so excited to welcome back Tribune News Service film critic Katie Walsh to discuss one of the most beloved American filmmakers! When will “Oscar for Sandman” happen? Well, in 2002, Adam Sandler had his first attempt at the Gold with an esoteric, anxious romantic comedy by Paul Thomas Anderson, Punch-Drunk Love. While the film perfectly matches Anderson’s sensibility with Sandler’s manic comedic chops, this bittersweet and left-of-center romance was ultimately more of a (still not unanimous) critical darling, too odd for the Academy’s tastes.

This week, we talk about PTA’s pivot into the film’s small-scale specificity after the sprawl of Magnolia and Boogie Nights. We also discuss how past brushes with Oscar-friendly fare position Sandler for this year’s Jay Kelly, Jack Nicholson as Sandler’s champion at the Cannes Film Festival, and the MTV Movie Awards Best Kiss.

Topics also include Jon Brion’s score, supermarket movies, and the former green color of Healthy Choice.

Grab your half-butter-half-salt popcorn because this week, we’ve got something to make you howl! After the critically-hailed success of Waiting for Guffman, Christopher Guest returned with another improvisational comedy set in a world of deeply specific eccentrics played by an ensemble of geniuses. Best in Show is set in a world of competitive dog shows, with all the beloved pooches mirrored in their idiosyncratic owners. The film helped cement Guest’s brand of humor and earn an ever-expanding devoted fanbase, but Oscar was just out of reach.

This episode, we talk about how the film’s precursor run was more robust than you think and the Guest films’ increasing Oscar pedigree. We also talk about the film’s endless quotability, how Fred Willard became the performance to be singled out from the ensemble, and the bittersweetness that runs through Guest’s work.

Topics also include the 2000 Best Original Song race, lingering misunderstandings around improvisational vs. scripted, and Almost Famous.

With Meryl currently on her first film set in years, what better time than to dance, jive, and generally speaking have the time of our lives. We’ve invited our friend, writer and programmer Jorge Molina to discuss the Meryl movie that didn’t get her an Oscar nomination in 2008. A post 9/11 hit on the stage, Mamma Mia! tells the story of a bride who invites three men to her wedding who might be her father, all set to the music of ABBA. The film showed off against Batman himself to become a global smash (if not one with critics), and it remains a rewatch classic.

This episode, we discuss our origins with the musical and Meryl’s other 2008 performance. We also talk about the film’s ensemble including the divine Amanda Seyfried, our favorite numbers from the film, and whose voice fares the worst when singing.

Topics also include Chris Klein’s bad audition, Tom and Rita, and downloading Oscar medleys to an iPhone.

You might not expect a family-friendly live action Disney movie to draw awards attention, but not all of those types of films star Jamie Lee Curtis. In 2003, JLC starred in a Freaky Friday remake starring then ascendant teen star Lindsay Lohan. The two spin comedy gold as a tenuous mother and daughter who wake one morning to find they’ve been body swapped. Lohan show smart comedy chops as the square mother, but it was Curtis in rebellious teenage mode that earned high praise, including a Golden Globe nomination.

This episode, we talk about Lohan’s fast rise of films in the aughts and Curtis’ place in the 2003 Best Actress race. We also discuss director Mark Waters, Curtis’ prestige road to a Supporting Actress Oscar win, and the film’s aughts fashion.

Topics also include Kept, Lois Duncan books, and The Hives vs. The Vines.

After a pair of successful adventure movies together with Robert Zemeckis, the trio of Michael Douglas, Kathleen Turner, and Danny DeVito got the band back together for one last time in 1989. With DeVito in the director’s chair and adapted from the Warren Adler novel, The War of the Roses follows the disintegration of one materialistic couple and the divorce battle that ensues. It’s an acidicly comedic satire that nevertheless became a holiday season hit, but failed to capture Oscar’s affection.

This episode, we talk about DeVito’s directorial career and the film’s muddled framing device. We also talk about the Oscar legacy of Driving Miss Daisy, Turner’s too brief period as a commanding leading lady, and Douglas’ emergence into serious leading man.

Topics also include Romancing the Stone‘s horniness, entering the paté business, the chandelier finale.

We’re ringing in another year on the pod with our 350TH EPISODE!! In 2006, Broadway imported the National Theatre production of Alan Bennett’s The History Boys, an ensemble piece following a group of college hopeful students and their philosophically opposed teachers. The Broadway production became a Tony record-making sensation. However, prior to the transfer, the entire cast completed a film version that would arrive later in the year after the Broadway fever had cooled.

This episode, we talk about why this film marks a place in THOB history and the film’s complicated presentation of queerness and predation. We also talk about Richard Griffiths’ lauded performance, Fox Searchlight’s busy 2006, and our favorites from the past year of the show.

Topics also include the mixed bag of 2006 contenders, the successful young male cast, and college admissions culture.

We’re thrilled to welcome back author and Who? Weekly co-host Bobby Finger this week to talk about a fun modest thriller that helped turn one of our favorites into an industry darling. In 2001, director duo Scott McGehee and David Siegel brought thriller adaptation The Deep End to Sundance starring queer art cinema icon Tilda Swinton. As a mother who goes to great lengths to protect her closeted teenage son who she suspects of murdering his older lover, Swinton is a revelation and perhaps gave the first signs that she was at home in traditional fare as she was in the avant garde.

This episode, we talk about our love for Swinton and she joins our Six Timers Club. We also talk about the wide-reaching but under-discussed filmography of McGehee/Siegel, Goran Visnjic’s moment in time, and Lake Tahoe as a thriller vibe.

Topics also include Joe’s ABC era, our favorite Tilda performances, and the 2001 Best Actress race.

We close out Pride Month with one of our favorite queer films from the past decade, 2017’s BPM. From French director Robin Campillo, BPM follow a group of ACT UP activists during the height of the AIDS epidemic. With Campillo’s emotional and intuitive style of observation, the film shows the labors of political organization in all the warts of in-fighting and disagreement, but also the beauty of human connection amidst dire circumstances. The film was France’s International Feature submission, but didn’t even make the shortlist despite its high acclaim.

This episode, we discuss what makes the film all the moving and valuable in our current moment. We also talk about Nahuel Perez Biscayart’s moving lead performance, France’s current dry spell of winning the International Feature Oscar, and the Cannes Film Festival where BPM won the Grand Prix.

Topics also include The Orchard, gay people not being a monolith, and other 2017 queer movies. 

After a career as an actress, Sarah Polley made her directorial debut with Away From Her, landing Oscar nominations for both her screenplay and Julie Christie’s performance. Her follow-up would be a slight gear shift: the intimate character study of infidelity, Take This Waltz. The film stars Michelle Williams as a writer who begins to feel a divide between her and her husband (Seth Rogen), exacerbated by her lust for her rickshaw-operating neighbor (Luke Kirby). 

This episode, we talk about our love for Polley and the film’s inquisitive (if a bit divisive) portrait of marital malaise. We also discuss Sarah Silverman’s well-regarded supporting performance, Rogen’s very booked-and-busy first years of stardom, and the film’s expert use of “Video Killed the Radio Star.”

Topics also include Toronto geography, Dying for Sex, and Williams joins our Six Timers Club.

Our friend and theme music composer Taylor Cole returns to us this week to talk about one of our most beloved stars on This Had Oscar Buzz, Shirley MacLaine. After finally winning her Oscar for Terms of Endearment, MacLaine took a few well-earned years off. Her return was this tale of a hardened piano teacher and the young Indian student, Manek (Navin Chowdhry), that she takes on. But even with a showcase for MacLaine at the head of an ensemble that also included Dame Peggy Ashcroft, this chamber drama didn’t garner enough attention to land in the Academy’s graces.

This week, we talk about director John Schlesinger and MacLaine’s late 1980s run of iconic roles. We also discuss music teacher philosophies, Ruth Prawer Jhabvala working outside of Merchant/Ivory, and the 1988 Best Actress race including the famous three-way tie at the Golden Globes.

Topics also include Twiggy, MacLaine sparring with Letterman, and other awards show ties.

After his A Little Princess adaptation earned a duo of Oscar nominations, Mexican director Alfonso Cuarón followed that up with another literary adaptation, a modernization of Charles Dickens’ Great Expectations. With hot young stars Ethan Hawke and Gwyneth Paltrow as the central lovers and Oscar winners Anne Bancroft and Robert De Niro in support, the film transplanted Dickens’ social climbing classic to America’s southern coast and the New York City art scene. With some behind-the-scenes struggle and middling results, the film was pushed from its planned Christmas 1997 release into January, still eclipsed by Titanic.

This episode, we talk about the film’s modernized mixed bag and Cuarón before Y Tu Mamá También. We also discuss the Christmas 1997 trend of drawing a naked lady, the Best Actress race when Bancroft won for The Miracle Worker, and Paltrow in the leadup to her Oscar win.

Topics also include Tori Amos, voiceover narration, and late 90s Donna Karan.

At the beginning of the aughts, both Halle Berry and Benicia Del Toro were riding high on Oscar wins. In 2007, they both paired up for Things We Lost in the Fire, a melodrama from Danish director Susanne Bier. From a script by Collateral Beauty scribe Allan Loeb, the film cast Berry as a grieving wife who invites her dead husband’s addict best friend (played by Del Toro) to live in their home. Reviews were respectable and the film was widely predicted at the start of the season, but after bombing at the box office, it quickly evaporated from voters’ memories.

This episode, we discuss the film as emblematic of a dying breed of melodrama and its narrative proximity to the film both actors won their Oscars for. We also talk about Bier’s multiple films in the International Feature race, Del Toro’s few film roles between Oscar and this, and the critical drubbing Berry faced for Catwoman.

Topics also include poster fonts, The Velvet Underground needle drops, and Agnès Varda and Toni Morrison watching Sin City.

Festival Fever comes to an end this week with a look at the last major film festival of the year, the New York Film Festival. In 2022, Noah Baumbach follow-up up his biggest Oscar success, Marriage Story, by tackling Don DeLillo’s unadaptable novel White Noise. The satire stars Adam Driver as the leading professor in “Hitler studies” whose family faces chaos and confusion from a cataclysmic disaster known as the Airborne Toxic Event. Prestigiously opening NYFF (after also opening Venice), the film left many scratching their heads.

This episode, we talk about our hopes for Baumbach’s upcoming Jay Kelly and the history of NYFF openers. We also talk about the film’s closing sequence set to LCD Soundsystem, Greta Gerwig’s acting return in the film, and the film’s large budget.

Topics also include 2022 Original Song, Little Hugs (which we incorrectly call Huggies), and the film’s production design.

This week, Festival Fever gives us our first Baz! Strictly Ballroom gave then-stage director Baz Luhrman his debut film, one of a number of Australian comedies that would achieve cult followings in the US. But this tale of young ballroom dancers who take artistic license and fall in love on the way also became a hit at the Toronto International Film Festival, winning the coveted People’s Choice Award. With a spring release the next year, the film is the only one of Luhrman’s to not be nominated by Oscar in any category.

This episode, we talk about the maximalist appeal of Baz and the road to TIFF’s People’s Choice Award becoming such an Oscar predictor. We also discuss the film’s first success as a midnight film in Cannes’ Un Certain Regard section, star Tara Morice’s exquisite performance, and the film’s surprise strong showing with BAFTA.

Topics also include Kath & Kim, “Time After Time,” and the 1993 Golden Globe musical/comedy lineup.

estival Fever continues this week with a forgotten adaptation and the Venice Film Festival. Tom Stoppard earned his first Tony Award for Best Play for Rosencrantz and Guildenstern Are Dead, an absurdist spoof of Hamlet and various theatre tropes from the perspective of two of the Bard’s minor characters. A film version was long delayed before Stoppard took over the director’s chair himself for his debut. Casting young actors Gary Oldman and Tim Roth as the interchangeable twosome, the film earned the festival’s Golden Lion despite mild reviews.

This episode, we talk about the history of the Golden Lion and how we think this film joined those ranks. We also discuss Oldman and Roth’s breakthrough in Mike Leigh’s Meantime, their major successes immediately after Stoppard’s film, and Richard Dreyfuss’ broad performance as The Player.

Topics also include Chloe Zhao’s upcoming Hamnet, listeners not being able to tell us apart, and our favorite Golden Lion winners.

We’re kicking off this year’s May Miniseries this week! Introducing: Festival Fever!! We’re spending all month discussing the ethos around some of the most important film festivals–and if you subscribe to our Patreon, the mini has already begun! After the COVID year shut down the Cannes Film Festival for the first time in decades, 2021 rebounded with a robust edition. The Palme d’Or winner was a controversial pick: Julia Ducournau’s sophomore thriller Titane. The film garnered headlines for its audacious, no-holds-barred look at gender, parent-child relationships, and umm a serial killer who gets impregnated by a car.

This episode, we talk about the history of the Palme d’Or and the film’s unsuccessful placement as France’s International Feature submission. We also talk about our anticipation for Ducournau’s upcoming Cannes return with Alpha, Spike Lee accidentally spoiling the film’s win at Cannes, and queer reactions to the film.

Topics also include dancing firemen, Ducournau’s debut Raw, and our favorite Palme winners.

2014 fall festivals saw the debut of Ramen Bahrain’s 99 Homes, a dark crime saga centered around the housing crisis of the previous decade. Andrew Garfield (fresh off of his mildly received run of Spider-Man movies) stars as a father who tries to rebound from his eviction by taking up work with the slick real estate operator who evicted him, played by Michael Shannon. Once the film was released in the fall of 2015, Shannon earned Supporting Actor nominations at each of the major precursors, only to miss out on Oscar nomination morning.

This episode, we talk about Shannon’s snubbing and his two unlikely Supporting Actor nominations. We also discuss the short life of Broad Green Pictures, Garfield’s performance in Angels in America, and the 2015 Best Supporting Actor race.

Topics also include Joe’s first TIFF, Florida onscreen, and our upcoming May miniseries!

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.

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.”

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.

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.

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.

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.

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.”

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.

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.

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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.

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.

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!

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.

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!!

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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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.

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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.

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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.

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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.

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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.

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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.”

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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!

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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.

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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.

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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.

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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.

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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. 

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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.

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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”.

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The 1977 Oscar year is famously when Annie Hall triumphed over the cultural behemoth of Star Wars, but elsewhere Martin Scorsese followed up his Taxi Driver Best Picture nomination with a big swing and a miss. The Ankler’s Katey Rich is back on the show to discuss New York, New York, Scorsese’s attempt at a movie musical. Starring then-recent Oscar winners Liza Minnelli and Robert DeNiro as two post-WWII lovers whose creative ambitions clash with their relationship, the film received a critical drubbing for its pointed attempts at pastiche and its meandering length, and remains one of Scorsese’s least seen and discussed films.

This episode, we get into what does and doesn’t work in the film and how it gave us its indelible title track, later made infamous by Frank Sinatra. We also talk about the film’s tangled behind-the-scenes relationship to Star Wars, the music branch snubbing Saturday Night Fever, and the surprising lack of current availability for 1970s films.

Topics also include Vanessa Redgrave’s notorious Oscar speech, Al Pacino’s …And Justice for All hair, and Tell Me That You Love Me, Junie Moon.

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We’re on to 1976 (go sign up for our Patreon for 1975 and our Exception episode on Tommy!) and Christina Tucker rejoins us to talk about the 70s Spectacular’s wildest movie, The Ritz. From the play by Terrence McNally, the film is a mob farce set in a bathhouse with Jack Weston as a straight man hiding out from Jerry Stiller’s mob boss and living legend Rita Moreno as the sex establishment’s kooky cabaret headliner. Despite the pedigree of Oscar winner Moreno and then-newly-minted theatre icon McNally, The Ritz turned out to be a little too Looney Tunes for the stiff-upper-lip (and super straight) Academy.

This episode, we tackle the film’s harmless lunacy and McNally’s legacy. We also talk about Moreno’s Tony speech from the Broadway production, Rocky‘s victory over an incredible Best Picture lineup, and William Friedkin’s dour approach to producing the Oscar ceremony.

Topics also include the Continental Baths, Challengers, and Post Malone’s 2024.

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1974 brings us to one of the final films of Billy Wilder, which also reunited a screen duo beloved by both Oscar and audiences, Jack Lemmon and Walter Matthau. Vulture writer Roxana Hadadi is back to the show to talk about The Front Page, an oft-adapted farce about newspapermen getting wrapped up in the case of an escaped convict. Most famously retold in a gender swapped version in His Girl Friday, this version stumbles to deliver the best of this director-star trio and missed Oscar’s good graces despite multiple nominations in the decade for Mathau and Lemmon, including Lemmon’s win the previous year.

This episode, we talk about the victory lap made by Francis Ford Coppola with The Godfather Part II and The Conversation both earning Oscar love. We also talk about the film’s apoliticism was atypical of the moment, our love for Ingrid Bergman’s Supporting Actress speech, and the hubbub over the acceptance speech for Best Documentary Feature Hearts and Minds.

Topics also include disaster movies becoming the splashy Hollywood product, The Godfather Part II Supporting Actor nominations, and Anderson Cooper talking about his mom hooking up with Marlon Brando.

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In 1973, the Academy embraced horror in a big way by slapping cultural phenomenon The Exorcist with 10 nominations – but then The Sting would triumph over its success on Oscar night. Critic David Sims returns to the show to talk about a different iconic and formative horror title, Nicolas Rouge’s Don’t Look Now. With prestige stars Donald Sutherland and Julie Christie, the film follows a married couple grieving the loss of a child while working overseas in Venice. Clairvoyance, a serial killer, and disturbing visions all amount to a unique horror film that would influence many to come, but nevertheless one that the Academy was not ready to embrace.

This episode, we talk about the film’s notorious sex scene and the film as an odd middle ground between The Exorcist and Last Tango in Paris. We also talk about how the reputation of the film’s twist ending, Christie’s Oscar legacy, and how Sutherland was never nominated for an Oscar ahead of his honorary win.

Topics also include David’s favorites of 1973, Jefferson Mays on Broadway, and the Oscar streaker.

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The 70s Spectacular is dancing as fast as it can! And we’re spinning right into 1972 with one of the decade’s biggest stars, the one and only Barbra Streisand, and joining us is one of her superfans, writer Jordan Hoffman. This year saw the first films of First Artists, a production company that intended to give more power to stars to create their passion projects the studios wouldn’t touch. Streisand’s first effort with the company was Up the Sandbox, a timely satire that cast the legend as a housewife faced with a third pregnancy, who retreats into her wild and often politically charged fantasies. Indifference from audiences and the industry made this one of Streisand’s rare flops.

This episode, we talk about our love for Barbra and this legendary Oscar year that pit Cabaret against The Godfather. We also talk about the film’s bizarre fantasy sequences, how it exists as a product of a specific moment in time, and cinematographer Gordon Willis’ shockingly slim Oscar history.

Topics also include Paul Zindel books, Harry And Walter Go To New York, and Shelley Winters in The Poseidon Adventure.

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The 70s Spectacular continues with critic and podcaster Katie Walsh joining us to discuss 1971 and Hal Ashby. After making his directorial debut with The Landlord after a career as an editor (including an Oscar win for In the Heat of the Night), Ashby returned to the director’s chair for what might be the film that became his signature. Harold and Maude cast recent comedy breakthrough Bud Cort as a death-obsessed, disaffected youth who falls for a free spirit who just so happens to be 60 years older, played by recent Oscar winner Ruth Gordon.

This episode, we talk about Ashby’s prolific career in the 1970s, where Harold and Maude would be his only film without Oscar nominations. We also talk about Gordon’s three screenwriting Oscar nominations with her partner, Vivian Pickles’ underpraised performance as Harold’s mother, and the musical contributions of Cat Stevens.

Topics also include T-Mobile ads, the secret hotness of Norma Rae, and Charlie Chaplin’s honorary Oscar win.

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It’s time to kick off our May miniseries – the This Had Oscar Buzz: 70s Spectacular! For 1970, television writer Chris Schleicher joins us for a forgotten tale of wealth, deception, and Bavarian castles. The directorial debut of stage legend Hal Prince (and with a screenplay by his frequent collaborator Hugh Wheeler, from the novel The Cook by Harry Kressing), Something for Everyone starred a pre-Cabaret Michael York as a young man who weasel’s his way into the good graces of a wealthy family in order to claim their family castle. As the family matriarch, Angela Lansbury earned a Golden Globe nomination that didn’t translate to Oscar.

This episode, we talk about the 1970 Oscar year dominated by controversy surrounding George C. Scott’s rejection of Oscar pomp and circumstance and this film’s very obvious similarities to Saltburn. We also talk about Lansbury’s Oscar and Tony run preceding the film, Michael York as canonical cinematic bisexual, and Prince’s directorial failure adapting A Little Night Music.

Topics also include “It Goes Like It Goes,” the supporting actresses of Five Easy Pieces, and our disdain for Love Story.

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May is upon us and that means it’s time for another May miniseries! How could we top last year’s 100 Years, 100… Snubs! success? Well, we’ll be doing a deep dive into the Oscar era that was the 1970s! In the month of May, we will be looking back at each year of the decade with not only a discussion of a film from that year, but also the Oscar history of each year. Before that kicks off, here’s your intro episode to get you excited for what’s to come!

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We’re stoked for Challengers this week, so naturally we’re talking about one of our favorites in the Luca Guadagnino resume, 2016’s underdiscussed and hot as hell A Bigger Splash. Premiering at the 2015 Venice Film Festival and playing internationally in 2015, but opening late spring 2016 in the States, A Bigger Splash is a rock-and-roll-inflected tale of sex and ego that loosely remakes La Piscine. With a foursome of stellar performances by Tilda Swinton, Ralph Fiennes, Matthias Schoenaerts, and Dakota Johnson, the film earned strong notices especially for Fiennes’ bawdy dance moves, but category confusion and the spring release hindered his chances.

This week, we talk about the film’s portrayal of desire and deception, and how slyly the film weaves in themes of morality. We also discuss Tilda’s vocal acting choice, Johnson’s career emerging from 50 Shades, and the 2015 Venice jury. And we reveal the topic for the coming May miniseries!!

Topics also include poolside etiquette, adult braces, and Regina King being edited out of Beastly.

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If you think we are too dismissive of westerns, allow this week’s episode to contradict that notion! In 2018, Jacques Audiard made his English language debut with an adaptation of Patrick deWitt’s novel The Sisters Brothers. John C. Reilly and Joaquin Phoenix starred as gunslinging assassin siblings in 19th century America, with both on the pursuit of a detective and a scientist (played respectively by a reunited Jake Gyllenhaal and Riz Ahmed) with a plot for gold. Despite the reputation of everyone involved, the film received a mild reception at fall festivals before a quiet September release.

This episode, we talk about the struggles of Annapurna to successfully switch from being a production house to a distributor. We also discuss the career of Reilly with the hopes of a career reappraisal, our feelings about the western genre and the attempts to revive it, and Audiard’s French submission contender in A Prophet. 

Topics also include surprise Carol Kane, queercoding, and Jake going weird.

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We’re finally diving into the time capsule that is 2004’s Garden State. The writing and directing debut of Zach Braff, the film stars Braff as a depressed actor who returns to his Jersey home to attend his mother’s funeral. Once there, he reunites with former friends and maybe meets the love of his life (played by Natalie Portman in an urtext manic pixie dream girl mode) who helps him reevaluate his life. The film was a Sundance sensation and unleashed a gangbusters trailer package, igniting the love of young cinephiles, if not the Academy. 

This episode, we discuss what about the film has aged poorly and its place in Fox Searchlight’s very busy 2004. We also talk about the film’s incredibly popular and definitive soundtrack, Portman’s performance and career up to her first Oscar nomination, and Jackie Hoffman’s brief performance in the film hilariously singing Lionel Ritchie.

Topics also include the personal stages of life we were in when we first saw the film, how gross it is to share headphones, and Rachel McAdams and Ryan Gosling winning Best Kiss.

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On top of all the horrors of the pandemic, let’s not forget that that time also gave us cringe cinema directed by Sia. This week, we come to you with another Patreon Selects, where sponsor listener Stuart has tasked us with that very film. Initially shot in 2017, Sia’s Music cast Kate Hudson as a troublesome drug dealer tasked with taking over the care of her younger autistic sister, played by Sia protege Maddie Ziegler. The ill-conceived film earned a deserved firestorm of outcry for Sia not casting a neurodivergent performer and the singer’s initial dismissive reactions to the controversy, but then earned two shock Golden Globe nominations in the Musical/Comedy categories.

This episode, we unpack all that makes this our presumed worst film we have yet to discuss. We also talk about supporting star Leslie Odom Jr.’s presence in the film in the same season as his dual Oscar nominations for One Night in Miami…, Hudson’s newfound music career, and the films that the Globes could have sensibly nominated in Music‘s place.

Topics also include whatever the hell Mary Kay Place is doing in this movie, Hudson and Odom Jr. in Glass Onion, and the current hideous Globe statue.

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We return to the work of Naomi Watts this week for a discussion on 2010’s Fair Game. Costarring with Sean Penn for the third time in a decade, Watts starred as outed CIA agent Valerie Plame with the film detailing the leaking of Plame’s identity amidst her husband Joseph C. Wilson’s criticisms of the Bush administration. With Doug Liman taking the director’s chair after a series of action films, the film is a surprisingly sober recounting of the Plame story and one of Hollywood’s better offerings deconstructing that era of American culture. But despite launching the film at Cannes and Watts’ solid performance, the film became yet another disappointment among the many political dramas of the period.

This week, we talk about the career of Liman, including the fraught production of The Bourne Identity. We also discuss Watts’ period between her two Oscar nominations, the general landscape of Bush era politics and how few films successfully unpacked it well, and the relative box office disappointment of Edge of Tomorrow.

Topics also include Feud: Capote vs. The Swans, Bush administration names like “Scooter,” and the National Board of Review’s Freedom of Expression award.

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Forgotten cinema, you ask? This week, we’re coming to you with 2000’s State and Main, a Hollywood satire and ensemble comedy from lauded playwright David Mamet. A farce about a film production wreaking havoc on small town America, the film featured a very Mametian cast of Alec Baldwin and William H. Macy along with of-the-moment stars on the rise like Philip Seymour Hoffman, Sarah Jessica Parker, and Julia Stiles. An ensemble win from the National Board of Review helped coast the film through the season, but it managed little other award mentions despite strong reviews.

This episode, we talk about David Mamet’s high (but waning) regard in the American theatre in contrast to his more under-the-radar film reputation. We also talk about PSH’s late-90s breakthrough years, SJP’s reign over the Globes for Sex and the City, and WHM’s surprising lack of an Oscar nomination since Fargo.

Topics also include “so that happened” as a punchline, Fine Line Features, and NBR giving Best Picture to Quills.

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With another Oscar ceremony coming to a close, it’s time to crack the seal on the Class of 2022 movies and we couldn’t wait to talk about Jordan Peele’s Nope! Priming audiences for a big summer alien invasion film, Peele also delivered a film with a lot on its mind about society’s relationship to witnessing and capturing violent spectacle, the film industry’s history of disregard for Black artists, and how we package our own traumas. With a terrific ensemble led by Daniel Kaluuya and Keke Palmer as siblings who discover an unexplainable phenomena in the skies, Nope is perhaps 2022’s biggest head-scratcher among films not recognized by the Academy.

This episode, we talk about the 2022 box office dynamic that unfairly tainted Nope as a box office disappointment and its many, rich avenues for narrative interpretation. We also talk about Kaluuya’s underrated performance, Palmer’s contrasting performance that was campaigned in supporting, and what makes the movie a monster movie vs. an alien movie.

Topics also include Gordy going off, Hoyte van Hoytema’s cinematography, and breakthrough star Jean Jacket.

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Coming out of the COVID-led doldrums of 2020, the Cannes Film Festival loomed large as a “movies are back!!” starting gate for global cinema. Its opening film, Annette, was a long-in-development rock opera with music by cult fave Sparks and directed by visionary auteur Leos Carax, returning to the Croisette with his first film in nearly a decade. With Adam Driver at the helm as a batboy shock jock comedian who falls in love with opera star Marion Cotillard to disastrous results, the film is a bizarre fantasia about destructive creative ego and features a puppet as the titular baby singer. Though the film drew raves and buzz around Driver and Sparks’ score, Annette was alas too freaky for the Academy.

This week, we talk about Driver’s career and how his unique physicality makes him a worthy successor to Carax’s usual collaborator Denis Lavant. We also talk about the other famous castings while the film sat in development, the 2021 Original Song contenders, and Simon Helberg’s supporting performance.

Topics also include Baby Annette in the gay stan wars, Carax’s filmography, and the 2021 Cannes Film Festival.

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Attention, Dune-heads, we’re talking about Timothee Chalamet this week! In 2018, fresh off of his first Oscar nomination, Chalamet joined Steve Carell for Beautiful Boy, an adaptation of David and Nic Sheff’s memoirs about a young man’s addiction and his father’s attempts to help him. Directed by Felix van Groeningen (who’d directed nominated international feature The Broken Circle Breakdown), the film is a somewhat scattered and ineffective weepie that strains Carell’s limitations but nevertheless earned Chalamet Best Supporting Actor nominations at all the major precursors.

This week, we talk about Carell’s career starting with The Daily Show and his more tricky dramatic work. We also talk about Chalamet’s quick ascent following his Call Me By Your Name success, Maura Tierney’s impactful but too brief role, and 2018 Best Supporting Actor.

Topics also include Dune Part 2, TIFF 2018 galas, and the Beautiful Boy Erased is Back vibes of 2018.

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This week, we are talking about one of the biggest THOB titles that we haven’t yet discussed: 2004’s Spanglish. James L. Brooks returned nearly a decade after his Oscar success with As Good As It Gets with this story of two disparate families thrust together: an immigrant single mother and the rich Los Angeles family she works for. With Adam Sandler headlining one year after earning his first bout of buzz for Punch-Drunk Love, this looked to be a chance for the Academy to honor him as a serious performer within the Academy-beloved Brooksian seriocomic glow. But the movie… has some issues!

This episode, we talk about Cloris Leachman’s stellar boozy performance and Téa Leoni’s work tried to wrangle an impossible character. We also discuss Paz Vega as the film’s attempted breakthrough performance to American audiences, Brooks’ Oscar history, and the many mystery middle names in Hollywood.

Topics also include Mitski fans, the film’s cringe-inducing sex scene, and the history of the Tristar logo.

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We’re wrapping up our run of Patreon Selects episode with a real doozy! Originally intended for 2019, The Woman in the Window was meant as a prestige adaptation of a popular thriller, packing quite the pedigree. With the attached talents of director Joe Wright, writer Tracy Letts, and star Amy Adams (along with a stellar supporting cast), the film follows an agoraphobic who witnesses a murder across the street, setting off a mystery of mistaken identities and skewed perceptions of reality. Then, it was hit by a rapid succession of misfortunes including the Disney-Fox merger, a cringe-inducing exposé on author A.J. Finn, and, well, the pandemic.

This episode, we talk about what went wrong and what might have been watered down by the Tony Gilroy reshoots. We also discuss Adams’ recent run of disappointing roles, our hopes for Nightbitch later this year, and Jennifer Jason Leigh joins our Six Timers Club!

Topics also include the emergence of Fred Hechinger, Julianne Moore’s brief boozy performance, and the film’s somewhat unceremonious Netflix drop.

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Our patrons said we must stay in Tuscany! This week, we’ve got another Patreon Selects episode and it has us talking about one of our least favorite Oscar years. In 2010, Abbas Kiarostami returned to Cannes with yet another masterpiece in Certified Copy, a dense and transfixing musing on reproductions of art, authenticity, and perception. The film didn’t release stateside until 2011, but did earn Juliette Binoche Best Actress at Cannes and a wide range of critical response, from befuddled to enraptured. But Certified Copy became more of a critical favorite than Oscar hopeful, while a different Iranian filmmaker, Asghar Farhadi, would win the country’s first international Oscar for A Separation.

This episode, we talk about Binoche’s career including her mixed bag of American projects. We also talk about the film’s slippery presentation of reality and role-play, the Iranian New Wave and Iran’s Oscar history, and the 2010 Cannes Film Festival.

Topics also include other 2011 favorites in a bad Oscar year, coffee shop ladies, and Cannes acting prizes.

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We’re breaking into your regular podcast schedule to bring you a special bonus episode recapping our thoughts on the films of this year’s Sundance Film Festival! And we’ve asked Queerty’s Cameron Scheetz back on to tell us what the festival was like on the ground at Park City (along with thoughts on non-virtual films like I Saw the TV Glow)! Topics include June Squibb going vigilante as Thelma, a Kieran Culkin/Jesse Eisenberg Pain-ful duet, and our favorite films of this year’s festival!

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It’s here! Our most awaited and beloved episode of every year! We’re here this week to look back at the This Had Oscar Buzz Class of 2023, celebrating all of the films that had some kind of Oscar hopes that managed zero nominations last week. We’re giving our categories a minor facelift, while still discussing things like the most forgettable and most deserving films left out in the Oscar cold. Topics also include movies that make Joe and Chris argue, Madonna tardiness, and the much discussed Barbie misses in Best Actress and Best Director.

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This week, our Patreon Selects episodes continue and they’re staying in Europe! One of our sponsors has selected for us an Oscar nomination follow-up star vehicle for the divine Diane Lane, 2003’s Under the Tuscan Sun. Loosely adapted from Frances Mayes’ memoir, the film follows Lane as a new divorce gifted a Tuscan vacation who decides to feel the rain on her skin (no one else can feel it for her! only she can let it in!) and buys a Tuscan home to uproot her life. Fresh off an Unfaithful Best Actress nomination, the film launched in the fall but was quickly reduced to romcom fare unworthy of awards.

This episode, we talk about Lane’s career leading up to the critical groundswell that resulted in her Oscar nomination. We also talk about Lindsay Duncan going all La Dolce Vita, contemporary production design, and the 2003 Golden Globes Best Actress in a Musical/Comedy lineup.

Topics also include being Gay and Away at the Taco Bell hotel, Grey’s Anatomy, and the incoming Oscar nominations!

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Our Patreon Selects series continues with another dive into French cinema! In 2002, director Francois Ozon delivered an actress bonanza with 8 Women, an homage of Douglas Sirk and Alfred Hitchcock that’s also a musical and also murder mystery and also a celebration of the biggest French actresses of the moment. Set at Christmas, its titular ensemble tries to discover who among them has killed the family patriarch. Despite a solid run for France in the aughts with their Oscars submissions, Ozon’s treacly affair did not make it to the Oscar ball.

This episode, we talk about Ozon’s filmography and France’s current difficulties nabbing an International Feature Oscar despite their stature in the race. We also talk about the career of Chris’ fave Isabelle Huppert, the film as Harold They’re Lesbians core, and our thoughts on The Taste of Things‘ chances this year.

Topics also include Frances Fisher’s new cause celebre, Streep/Short dating rumors, and Madarin Oriental “I’m a fan” commercials.

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Our Patreon Selects episodes continue this week with a pick from Audrey: the beloved 2019 lesbian romance Portrait of a Lady on Fire. The film launched at the Cannes Film Festival, winning the Best Screenplay prize and skyrocketing director Céline Sciamma to the names of most beloved contemporary directors. However, when the Oscar race began, France instead chose to submit Ladj Ly’s Les Misérables for the International Feature race. Sciamma’s film still gained feverish fandom on the fall festival circuit and even more critical raves, but ultimately distributor Neon focused its awards campaign energies on fanning the flames of the Parasite moment.

This episode, we talk about the 2019 Cannes Film Festival and Portrait’s delayed platform release that got abbreviated by COVID. We also discuss Adèle Haenel’s stunning enigmatic performance, the film where Noémie Merlant falls in love with a circus ride, and the case for Claire Mathon in Best Cinematography.

Topics also include Louis Ironson’s poster’s disease, 2019 films directed by women, and the 2022 Sight and Sound poll.

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All January we’ll be doing a series we call Patreon Selects with episodes chosen by members of our sponsor-level tier on Patreon (and they’ll be sharing their Oscar origin stories too)! First up is 1992’s megasmash musical comedy Sister Act! Originally designed as a showcase for Bette Midler, the film became a starring vehicle for Whoopi Goldberg hot off of her Oscar win for Ghost. With Whoopi as an on-the-run lounge singer who hides out in a convent and turns the church’s choir into a sensation, the film won the affection of audiences but not an Academy with a tricky relationship with comedy.

This episode, we talk about Whoopi’s career from theatre breakthrough to movie star to Oscar host. We also talk about Dame Maggie Smith’s two Oscar wins, the career of writer Paul Rudnick (who took his name off the film), and the divine Mary Wickes.

Topics also include Hook, Nuns Having Fun, and the MTV Movie Awards.

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Listeners have been asking for this episode for years and today, Santa is bringing it to you! Happy Holidays, it’s time for Eyes Wide Shut! In 1999, the film was hotly anticipated for many reasons: it starred Hollywood’s most famous couple, it was the final film of master of masters Stanley Kubrick, its very long production was hounded by the press, and it promised lots of onscreen sex. Adapted from Arthur Schnitzler’s Traumnovelle, the film cast Tom Cruise as a doctor who goes on an odyssey of sexual obsession after his wife (a haunting Nicole Kidman) confesses to an unrequited sexual fantasy about a stranger. A ritual orgy, Todd Field playing jazz piano, and a flirty Alan Cumming followed, and baffled audiences reacted viciously.

This episode, we discuss the film’s initial negative reaction from audiences and critics alike and its contemporary reassessment. We also talk about its formative place in Kidman’s emphasis on auteurs, how the film unpacks Cruise’s screen persona, and the film’s mystery box marketing.

Topics also include Sidney Pollack barechested in suspenders, the film’s censored orgy, and the Blockbuster Entertainment Awards.

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Hayden Christensen arrived seemingly out of nowhere to land the role of pre-Vader Anakin Skywalker, becoming one of Hollywood’s hottest stars overnight and largely untested as a screen presence. After a respected turn in Life As A House(see previous episode!), the Attack of the Clones reviews soured audiences on this brand new star. The very next year, he gave a terrific performance in Shattered Glass as journalist Stephen Glass who famously fabricated stories for The New Republic. But awards bodies overlooked Christensen’s work and instead nominated the rising Peter Sarsgaard as Glass’ pseudo-rival Chuck Lane.

This episode, we talk about the Entertainment Weekly It List that was Christensen’s first debut post-Star Wars casting and his return to the franchise. We also talk about director/writer Billy Ray, Sarsgaard’s near nomination here, and journalism movies that were successful with Oscar.

Topics also include working with fact checkers, college group watch television, and the 2003 Independent Spirit Awards.

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This week, our first film selected by one of our sponsor-tier Patreon subscribers arrives, and we brought back Vulture’s Roxana Hadadi to celebrate. In 1995, audiences were hyped to finally see an onscreen showdown between Al Pacino and Robert DeNiro in Michael Mann’s Heat. But what promised to be a standard actioner on paper (on top of a battle of titans) was in actuality an existential tone poem on masculinity, with audiences feeling let down by the lack of fireworks in Pacino and DeNiro’s brief but mighty scene. The film has since been reassessed, earning a vocal and devoted fanbase that hail the film as Mann’s masterpiece.

This week, we talk about Mann’s work studying the masculine mind and Pacino and DeNiro’s 1990s periods. We also talk about Val Kilmer’s Batman year, how the 1995 Oscars largely rejected darker material, and our thoughts on Mann’s Ferrari.

Topics also include bisexual eyebrow piercings, our diner orders, and the Nyad towel.

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We who loved his debut Martha Marcy May Marlene (see previous episode!) waited eagerly for director Sean Durkin’s follow-up feature while he worked in television and produced other films. That sophomore feature came almost a decade later with The Nest. Starring Carrie Coon and Jude Law, the film follows a married couple who move to England to follow the husband’s finance career, only to quickly get consumed by financial woes. The film also returned Durkin to the Sundance Film Festival… and then the pandemic happened.

This episode, we talk about Durkin’s upcoming The Iron Claw and Carrie Coon’s work in theatre and on The Leftovers. We also discuss how the film dabbles delicately in psychological horror, Jude Law’s playing pathetic men to perfection, and the 2020 Sundance Film Festival lineup.

Topics also include the National Board of Review’s Top 10 Independent Films of 2020, Durkin’s work on Dead Ringers, and IFC Films.

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We all know that Oscar fawns over costume dramas of literary adaptations… or so we tell ourselves when forming predictions and one with a whiff of prestige arrives. In 2008, director Julian Jerrold delivered a new adaptation of Evelyn Waugh’s Brideshead Revisited with an up-and-coming young cast paired with Dame Emma Thompson as the devoutly religious Lady Marchmain. With Matthew Goode as the social climber Charles Ryder and Ben Whishaw and Hayley Atwell as the siblings he romances, the queer-inflected drama earned modest reviews and box office, with Thompson an outsider Supporting Actress contender through the season.

This episode, Thompson joins our six timers club and we discuss our love for the then-emerging Whishaw. We also look back at Goode’s career including the misbegotten Watchmen film, Atwell’s career outside of Marvel, and the surprising amount of time that has passed since Thompson’s last nomination.

Topics also include Brideshead riff Saltburn, pneumonia terminology, and 2008 queer cinema.

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Following Thanksgiving tradition, Katey Rich returns to This Had Oscar Buzz to discussant film with indistinguishable white male actors, and this year we have chosen 2015’s Everest. Directed by Baltasar Kormákur and featuring a massive cast led by Jason Clarke, Josh Brolin, and Jake Gyllenhaal, the film follows the true story of a disastrous trip up Mount Everest that left almost an entire crew dead. The prestigious cast and the film’s placement opening the Venice Film Festival led some prognosticators to suspect the film could be an Oscar player, but it ended up a straightforward disaster film that American audiences mostly dismissed.

This episode, we discuss how the film struggles to portray the reasons someone would want to climb Everest and Joe delivers his most hoot-worthy game yet. We also discuss Gyllenhaal’s recent questionable output, Elizabeth Debicki explaining things, and directors we confuse for Kormákur.

Topics also include mountain madness, author Jon Krakauer, and “wife on phone.”

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After the Oscar and box office success of Gladiator, director/star duo of Ridley Scott and Russell Crowe decided to reunite in 2006 for a very different kind of film, A Good Year. Starring Crowe as a finance bro who returns to the French vineyard of his beloved but estranged and now deceased uncle (played by Albert Finney), the film offered Scott the chance to shoot a film close to home and stretch himself into comedy. With Marion Cotillard as Crowe’s love interest and Abbie Cornish as the uncle’s rightful heir, Scott’s fledgling comedy chops resulted in a misfire and one of the biggest bombs of his career.

This episode, we discuss the Ridley Scott post-Best Picture filmography and the 2006 Best Actor race. We also look at Cotillard’s Oscar win during a strike year, Cornish’s world-traveling dialects, and the 2006 TIFF Galas.

Topics also include Industry, a former lost episode, and Buffalo voice.

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We return to the filmography of Spike Lee this week with his biggest box office success, 2006’s Inside Man. With a star-packed cast led by Denzel Washington as a hostage negotiator, Clive Owen as the bank robber opposite him, and Jodie Foster as a nefarious fixer, Lee took a standard crime thriller and made it his own to instantly rewatchable results. While the film generated the kind of “you know what was a good movie? Inside Man!” year-end critical reassessment we often talk about, it wasn’t enough to result in the snowball effect that leads to Oscar nominations.

This episode, we talk about how Lee elevates the film with his stylistic trademarks and the film’s twinship with 2006’s Best Picture winner The Departed. Topics also include Foster’s return this season with Nyad, Owen’s post-Oscar nomination slump, and Universal’s 2006 Oscar slate of The Good Shepherd and Children of Men.

Topics also include Washington’s aughts Tony Scott collaborations, whatever the hell is going on over at Gladiator 2, and the Streep/Gummer split.

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Happy Halloween, listeners! Naturally, this week we are returning to the shallow well of horror films that made it into the Oscar hunt with a recent highly debated and lauded terrifier. In 2018, Ari Aster made his feature debut at Sundance with Hereditary, the story of a family invaded from within by a demon worshipping cult. Aster’s bizarre vision quickly earned the film a reputation as one of the scariest ever made, but Toni Collette’s performance as a terrified and grieving mother received some career-best notices and feverish hopes that she could crack the Best Actress lineup. As you might expect, Hereditary was simply too much for the Academy.

This episode, we talk about everything that makes the film so divisive and Ari Aster’s whole thing. We also talk about Collette’s career and our favorites in her filmography, the rise of character actress Ann Dowd, and what makes the conversation around “elevated horror” so frustrating.

Topics also include putting the Saturn Awards on notice, coin parties, and the Gotham Awards.

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A few weeks ago, we lost the great and greatly undervalued filmmaker Terence Davies, who listened have heard our love of on our previous episode for The House of Mirth. In 2011, Davies adapted the play The Deep Blue Sea for the screen, with Rachel Weisz taking the role of a post-WWII married woman devastated by a failed affair with a veteran pilot, played by Tom Hiddleston. The film launched at TIFF but didn’t hit US screens until the following year, with Weisz an outsider contender in Best Actress with a NYFCC win and a surprise Golden Globe nomination.

This week, we talk about Davies’ heartbreaking passing and his career that culminated with Benediction. We also talk about Weisz’ career and Best Supporting Actress win for The Constant Gardener, Hiddleston’s breakthrough year in 2011 including Thor, and Simon Russell Beale’s tender performance as Weisz’ husband.

Topics also include what a cockle is, NYFCC’s other Best Actress choices, and the under appreciation of this year’s Dead Ringers limited series.

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After Francis Lee’s celebrated queer debut God’s Own Country, the director leveled up with another gay romance Ammonite, this time with Oscar-pedigreed stars. Kate Winslet stars as 19th century paleontologist Mary Anning opposite Saoirse Ronan as Charlotte Murchison; the two develop a seaside romance of opposites between the gruff Anning and the unfulfilled Murchison. But Lee’s follow-up, (originally selected for Cannes) had the unlucky fortune to come out in 2020 amidst a climate unfriendly to a romance more reserved and quiet than expected.

This episode, we talk about the film’s unceremonious world premiere at the COVID-impacted Toronto International Film Festival and the film’s theatrical run. We also discuss 2017 comparison’s between God’s Own Country and Call Me By Your Name, Winslet’s performance on Mare of Easttown, and the minor controversy over the real woman’s unknown sexuality.

Topics also include Sam Levinson’s (hypothetical!) dungeon, emotional metaphor animals, and “Harold, they’re lesbians!”

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Last week we celebrated the 20th anniversary of Kill Bill – Vol. 1, so naturally we had to bring you Vol. 2 this week! Six months after the release of the original (and its shafting at the Oscars), The Bride returned to finish her vengeance list and kill that Bill. Surprisingly, the finale earned stronger reviews and earned praise for David Carradine’s turn as the titular assassin. But even with Uma Thurman’s towering work coming into full focus at the story’s close, Vol. 2 marked one of the last times that Oscar would decide Tarantino wasn’t in their wheelhouse.

This episode, we look at how the two films differ and how some scenes may have played in one long film. We also talk about Daryl Hannah’s career, why we think the film received better reviews than its predecessor, and Beatrix Kiddo’s travel logistics.

Topics also include David Carradine’s position in the 2004 Supporting Actor race, Uma post-Bill, and the most recent Best Picture nominee we haven’t seen.

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We’re here celebrating a 20th anniversary for a beloved film this week, listeners! After his longest break between movies to date, Quentin Tarantino delivered a samurai epic while trying to crack the script for another epic, Inglourious Basterds. That ultraviolent actioner, Kill Bill, would also reunite Tarantino with his Pulp Fiction star Uma Thurman, given a major showcase as an unnamed blood soaked bride bent on vengeance. But Tarantino made so much movie, it had to be split into two.

Vol. 1 arrived in 2003 and became a sizable hit, wild mild critical praise that didn’t quite know what to do with its non-stop violence, time-hopping structure, and incomplete narrative arc. This episode, we talk about Kill Bill – Vol. 1‘s excellent female ensemble, its triumph at the MTV Movie Awards, and the all-timer needle drop “Battle Without Honor or Humanity”.

Topics also include first experiencing the film’s cliffhanger, its strong performance at BAFTA, and early aughts trailer descriptions.

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This week, we’re bringing you an episode to make you yell “YA BURNT!” Back in 2015, Bradley Cooper was to headline an ensemble dreamed about an unruly addict chef trying to earn his third Michelin star. Switching from the anonymously titled Adam Jones to the equally anonymous Burnt, the film had already earned a little bit of punchline status before skipping the fall festival circuit and delivering a dud wide release. Despite Cooper’s rising star power and Academy pedigree, this one didn’t come close to the awards or audience embrace as 2014’s American Sniper.

This episode, we look back at a the rise of chef culture in pop culture at large from Top Chef to The Bear. We also talk about Alicia Vikander’s busy 2015 that led to an Oscar win, the film’s ludicrous but formulaic plotting by screenwriter Steven Knight, and the underwhelming cinematic output from director John Wells.

Topics also include Cooper’s upcoming Maestro, his Oscar nominations as a producer, and Serenity.

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We’re back from our annual trip to the Toronto International Film Festival! Once again, we’ll be dissecting our festival experience, the films we saw, and what lies ahead for the season. We discuss the Peoples’ Choice Award winner American Fiction and its chances in the awards race, several International Feature contenders at the festival including Perfect Daysand The Teachers’ Lounge, the highs and lows of festival films by actors making their directorial debuts, and our top 5 films of the festival!

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Before Tom McCarthy would deliver an Oscar triumph with Spotlight (and a bomb with The Cobbler), his critically beloved films centering on everyday people culminated in Win Win. The film starred Paul Giamatti as a lawyer and wrestling coach who takes in the grandson of an elderly client, one who he has taken guardianship of solely to alleviate his family’s precarious financial situation. With a stellar ensemble including Amy Ryan and Melanie Lynskey, the film premiered at Sundance to strong reviews and earned screenplay mentions throughout the season ahead. But with distributor Fox Searchlight handling several bigger films, Win Win did not become McCarthy’s first Oscar nominee.

This episode, we look back at Giamatti’s notorious Oscar snub for Sideways and ahead to his chances this year with Alexander Payne reunion The Holdovers. We also discuss Ryan’s passionate and lovable performance, Spotlight‘s position in its Best Picture lineup, and Win Win‘s fellow nominees for Best Movie for Grownups.

Topics also include Melinda Doolittle on American Idol, Nina Arianda’s film roles, and McCarthy’s canned Game of Thrones pilot.

And remember to join us on This Had Oscar Buzz: Turbulent Brilliance over at patreon.com/thishadoscarbuzz!!

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Some might call Yorgos Lanthimos’ Oscar ascent an unlikely one, given the oddness at the core of his films. But with the Foreign Language Feature nomination for the explicit Dogtooth and the Original Screenplay for The Lobster, the Greek auteur cemented his status in the Oscar club. A victory lap of sorts came with The Killing of a Sacred Deer in 2017, returning Lanthimos to Cannes competition with the pedigree of Colin Farrell and Nicole Kidman. But any expectation that the film might be another Academy affirmed oddity all but evaporated when Cannes audiences discovered a bloody and deeply strange (even for Lanthimos) modern fable about a father given an otherworldly, violent demand from a deceased patient’s son.

This episode, we talk about our anticipation for Lanthimos’ Poor Things this season and the elements that make this film so divisive. We also talk about Barry Keoghan’s brilliant breakthrough performance, Alicia Silverstone’s caramel tart, and the film career of character actor Bill Camp (new bet alert!).

Topics also include the now-defunct Executive Committee, Kidman smoking while gardening, and 2017 Cannes Film Festival.

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We’re going back further than ever before this episode and we’ve got writer/critic/author Emily St. James along for the ride! After a consecutive run as an Oscar favorite in the late 1940s to early 1950s, director John Huston gave us 1956’s Moby Dick, an adaptation of perhaps the greatest novel of all time and often seen as unadaptable. With Gregory Peck as Captain Ahab and a cameo performance by Orson Welles, the film earned Huston favor at the DGA Awards, but even with its (then) technical feats, the film did not continue Huston’s Oscar streak.

This episode, we talk about the impossible task of bringing Herman Melville’s novel to the screen and the perception of Peck as miscast. We also discuss the 1956 Oscars, Peck’s run as Academy president, and outrage over Home Alone‘s underwhelming Oscar nomination tally.

Topics also include the Grumpy Old Men blooper reel, Reba McEntire as Trish, and we also announce the return of Vulture’s Movies Fantasy League! Join the rest of the Garys with league name AllOfUsGarys!

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Ahead of this season’s Nyad, we are looking back at the Oscar history of Annette Bening and 2017’s Film Stars Don’t Die in Liverpool. One year after missing out on a nomination for 20th Century Women, Bening returned with this film, starring as actress Gloria Grahame . Told from the perspective of actor Peter Turner (played by Jamie Bell), the film tells a love story between Turner and the Oscar winner during her final days. The film received a mild festival response and limited release during New Years, with Bening and Bell getting BAFTA nominations, but no such love from Oscar.

This episode, we talk about Bening’s four previous Oscar nominations and her notorious dual losses to Hilary Swank. We also discuss actresses who have played Oscar winners, Grahame’s Oscar win for The Bad and the Beautiful, and that other Sony Pictures Classics film from 2017 that took its time to expand.

Topics also include Bell’s leading man charisma, Bening’s potential for Nyad, and the many PG-13 f*cks of The American President.

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Are you loving our new original intro music, listeners? We’re joined this week by its composer and our friend Taylor Cole to muse on the genre musical biopic with 2015’s Love and Mercy. The film follows different chapters of Brian Wilson’s life and mental wellness journey, with Paul Dano taking on Wilson’s life as he experimented with The Beach Boys’ sound and John Cusack as the later Wilson. After a debut at the 2014 TIFF, the film launched in the summer to positive reviews and a slew of precursor nominations for Dano. But much like the Academy voted with The Fablemans this past year, Dano was left out at the last moment.

This episode, we discuss how the film’s structure appropriately tells Wilson’s story while creatively twisting the standard biopic framework. We also discuss Elizabeth Banks’ performance headlining the later portions of the film, divisive feelings about Dano’s earlier performances, and 2015 Best Supporting Actor.

Topics also include Cusack strike tweeting, presenting Chicago to Social Studies class, and our relationships with the music of The Beach Boys.

Don’t forget to subscribe to our Patreon, This Had Oscar Buzz: Turbulent Brilliance, over at patreon.com/thishadoscarbuzz!!

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We’ve come up on another anniversary episode of This Had Oscar Buzz, and we’ve got another favorite that long-time listeners have heard us praise before: 2019’s Her Smell. Debuting on at TIFF 2018, the Alex Ross Perry film is a daring and ambitious take on the riot grrrls of the early 1990s. Starring Elisabeth Moss as Becky Something, an addict egomaniac who brings her own downfall, the film audaciously immerses us in Becky’s destruction (and later climb out of it) in ways that are exhausting and rewarding. Earning stratospheric praise for Moss by even the film’s most frustrated viewers, the film was cursed to a microrelease and stayed an Oscar outsider despite vocal critical support.

This episode, we talk about the audacity of both Perry’s film and Moss’ performance. We also get into the depressing state of independent distribution, Perry’s open comments regarding its release and support for Moss’ performance, and the Gotham Awards.

Topics also include the film’s fake album covers, our appreciation for difficult characters, and our superlatives for the past year of the podcast.

But perhaps most exciting is two bits of news right at the top: our new theme music by Taylor Cole and our newly launched Patreon!! Please consider subscribing and joining us for This Had Oscar Buzz: Turbulent Brilliance over at patreon.com/thishadoscarbuzz!!

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Ahead of this week’s release of Ira Sachs’ Passages, we’re discussing perhaps Sachs’ most lauded film, 2014’s Love is Strange. The film stars John Lithgow and Alfred Molina as a newly married couple forced to live apart in New York City when one of them is fired from his Catholic school job for being gay. Charting the frustrating nuances of cohabitation and the unexamined financial hardships of city life, the film is a quiet wonder filled with humane performances, including Marisa Tomei as part of the couple’s social circle. Praised at Sundance and in its late summer release, the film managed to stay in conversation due to several Independent Spirit nominations, but was shut out by Oscar.

This episode, we discuss Sachs’ underappreciated filmography and Molina’s career rise as a trustworthy supporting player. We also discuss Lithgow’s consecutive Supporting Actor nominations in the 1980s, the film’s release in the year before the Obergefell ruling, and Sony Pictures Classics’ busy 2014.

Topics also include Best Grownup Love Story, the 2014 Sundance Film Festival, and Asteroid City.

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We are returning to the work of Jennifer Jason Leigh this week, and Jourdain Searles is joining us once again with an underrated and underseen gem. Mrs. Parker and the Vicious Circle takes on the life of indelible writer Dorothy Parker, capturing her days with the insular Algonquin Circle and her later dissolution with the group, all with Jennifer Jason Leigh as the noted wit. Launched at Cannes, the film was celebrated for her performance even with a limited audience, including Golden Globe and Independent Spirit nominations for Best Actress. But even in a famously uncompetitive Best Actress lineup, Leigh was left out.

This episode, we talk about Leigh’s several close calls for a nomination in the 1990s and our feelings about the nomination that she eventually received for The Hateful Eight. We also talk about Pulp Fiction‘s domination on the independent film scene, the Cannes Film Festival, and the influence of producer Robert Altman.

Topics also include writer/director Alan Rudolph’s filmography, the film’s massive (and nepotism baby-inflected) ensemble, and the person-not-company Condé Nast.

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The cementing of Cillian Murphy as a major actor has been a long time in the making, possibly coming to fruition this weekend with the release of Oppenheimer. Audiences likely most know the actor for his starring role in Peaky Blinders, but his cinematic arrival began in the early 2000s with films like 28 Days Later. However, 2005 gave us a Cillian Murphy three-peat with Batman Begins, Red Eye, and this week’s film Breakfast on Pluto. With Murphy starring as a transwoman reconciling her family history in Ireland and Britain during the 1960s and 1970s, the Neil Jordan film ran the fall festival gamut and earned strong notices for Murphy (if not the film). But Murphy faced a stacked 2005 Best Actor lineup and this smaller queer film was left in the cold.

This episode, we talk about the film’s relationship to Jordan’s Oscar success The Crying Game and the director’s wide-ranging filmography. We also talk about Murphy’s career ascent as somewhere between character actor and leading man, the film’s dated presentation of queerness, and Murphy’s Golden Globe nomination.

Topics also include our Barbenheimer plans, The Borgias, and hating David Zaslav.

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Though this episode brings talk of the gloom of covid lockdown, we still get to talk about one of our favorite films of the last several years. The story of two men who become friends in the harshness of the 19th century Pacific Northwest and start a business by stealing the milk of the area’s only cow, Kelly Reichardt’s First Cow is a delicate study of American capitalism from one of the most under-rewarded filmmakers working today. The film’s modesty (a Reichardt specialty) might have kept it away from awards talk had it not been one of the last films released prior to covid lockdowns. Though the lack of released films that year and a Best Picture win with New York critics helped keep the film in conversation, First Cow and Reichardt remained on the outside of the Academy’s tastes.

This episode, we talk about Reichardt’s filmography and the film’s long festival run ahead of its thwarted theatrical release. We also talk about the performances of John Magaro and Orion Lee, A24 putting all of its 2020 Oscar energy towards (the also great) Minari, and retired bovine actress Evie the cow.

Topics also include the Academy ratio, cow puns, and the Gotham awards.

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In the small hall of Oscar-endorsed horror films, the centerpiece must be Kathy Bates brilliant and terrifying win for Best Actress in Misery. A few years after that win, Bates returned to Stephen King territory (though you can debate how much of a horror story it is) with Dolores Claiborne, the mystery of whether or not a woman killed not only her wealthy employer, but her husband decades prior. With Jennifer Jason Leigh as Bates’ estranged daughter and director Taylor Hackford at the helm, the film couldn’t return to that other King film’s Oscar anointing but endures as an intense melodrama and one of the best King adaptations.

This week, writer Louis Peitzman join us to unpack the history of King adaptations and each of our history with King’s work. We also discuss supporting player Judy Parfitt’s exquisite line readings, the differing takes on The Shining delivered by King and Stanley Kubrick, and this story’s connection to Gerald’s Game.

Topics also include the many 1995 Best Actress outsiders, Bates’ pre-Oscar theatre career, and Dead Like Me.

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In the early aughts, Jonathan Safran Foer’s Everything Is Illuminated was an inescapable book, launching the young author’s career (and more than a few skeptics). Naturally, the film adaptation came along, though with the unexpected pedigree of cherished actor Liev Schreiber making his director debut. Starring Elijah Wood as a fictionalized version of Foer traveling to Ukraine to discover family truths buried by the Holocaust, the novel and film are a reflection on the lost history of shetls in Eastern Europe. But when the film arrived on the fall festival scene, underwhelming reviews 

This episode, we talk about Elijah Wood’s post-Lord of the Rings career and the other films that have come from Foer’s writing. We also discuss the film arriving in the year of Schreiber’s Tony win, distributor Warner Independent’s successful 2005, and the National Board of Review’s 2005 picks for Special Recognition for Excellence in Filmmaking.

Topics also include emailing Natalie Portman, trailer voiceover, and the Blockbuster vs. Netflix discs era.

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We’re talking about one of our favorite filmmakers this episode and for one of his most mildly received movies. In 2017, two years after the critical success of Carol, Todd Haynes returned with a pivot to young adult literature with Wonderstruck. Based on the book by Brian Selznick, the film follows two deaf children across decades who trek into Manhattan in search of family: Rose in 1927 and Ben in 1977, respectively played by Millicent Simmonds and Oakes Fegley. With passing observations to film history and the invention of the talkie, the film takes a heady approach to a story of familial reconciliation across generations. But when the film widely disappointed viewers early on at the Cannes Film Festival, the film struggled to gain fans over the year, becoming the first of Amazon’s many awards duds over the season.

This episode, we discuss the film’s early tepid reception at the Cannes Film Festival and all of the talk of this year’s Cannes, including the debut of Haynes’ May December. We also discuss Simmonds’ work in the A Quiet Place franchise, the challenge in marketing Haynes’ films, and Julianne Moore’s dual roles in both storylines.

Topics also include Carter Burwell’s glorious score, another round of Alter Egos, and gossip from the 2017 Cannes.

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And we’re back! We hope you all enjoyed the 100 YEARS, 100… SNUBS! May miniseries, but regular episodes are returning and did we come back with a special one! The Mixed Reviews co-host and journalist Luis Rendon joins us to talk about one of the most beloved musical biopics of all time, 1997′s Selena. The film follows the rise and sudden tragic end of Tejano music legend Selena Quintanilla, and catapulted actress Jennifer Lopez in a major way. Lopez stayed in the conversation to earn a Best Actress in a Musical/Comedy nomination at the Globes, but the Oscars overlooked her now-treasured performance that is often remarked on for her ability to recreate the real life icon that she played.

This episode, we discuss the many phases on Jennifer Lopez’s career from her breakout in 1997 to her emergence into a music career and triumph at the Super Bowl Half Time Show with Shakira. We also discuss the massive casting search that landed her the role, the film as a tool of healing in the immediate aftermath of Selena’s murder, and the visual style of Tejano music videos brought to the film.

Topics also include the 1997 Best Actress race, the tradition of post-Drag Race on VH1 cinema, and character actress legend Lupe Ontiveros.

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We’ve arrived at the grand finale of our blowout May miniseries 100 Years, 100… Snubs! It’s all been leading up to this Red and Wild strawberry social with guests arriving, boots handed out with abandon, and our picks for the biggest Oscar snub of all time! We also dive into a feast of topics including hating Braveheart, corny 1970s disaster movies, running times of nominated Documentary Features, international feature eligibility issues, double Supporting Actor nominations in 1991, Nicole Kidman’s gaze, which one of us is a bigger You Can Count on Me fan, and 100 Years, 100… Snubs! SNUBS. Special thanks to all of our listeners for sticking with us week after week, film after film — we hope you all had fun with this miniseries!!

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The penultimate episode of our May miniseries is here! And this week, we are returning to a few repeat boot victims and some of our favorite oft-discussed films and performances. This round of snubs and boots includes terrifying bundles of sticks (cough), being 4′8″ and dying, codpieces, visions of the afterlife, lump twins, Mike Leigh performers, Spike Lee performers, horror movies, the upcoming live action The Little Mermaid, and lots more!

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We’ve got 20 more snubs (plus guest appearances!) on deck for another installment of 100 YEARS, 100… SNUBS!, and this episode is out for blood! We dive into the much discussed 1999 Best Original Song category, two very famous snubs that DON’T make our list, Chris’ early stumping for one highly anticipated performance this year, a 1980s genre film loved by horse girls and soft boys alike, Leslie Caron getting gaslit by puppets, falling in love from across a fish tank, and lots more!

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Our May miniseries continues this week with 20 more of our picks for the greatest snubs of Oscar history! As we march towards our pick for the single greatest snub of all time we’re talking about early 2000s emo music, Jessica Lange and Charlize Theron as bootable nominees, Beyonce’s trio of performances for nominated songs, horny acting, the most perplexingly snubbed movie of 2022, Jim Carrey’s fast rise in the 1990s, loving musical theatre people, and horror nominations!

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It’s May miniseries time, Garys! And we’re doing something a little different!

In 1998, the AFI compiled a list of the 100 greatest American films of all time, and turned the list into a primetime special complete with famous faces and a schmaltzy Trisha Yearwood song. It was such a success, the AFI continued to release Top 100 lists for love stories, comedies, stars, and more. For our May miniseries, we are paying a loving tribute to the tradition by selecting our choices for the 100 greatest Oscar snubs of all time, and we have several beloved THOB guests calling in to provide their picks as well!

In part one, we’ll cover our ground rules for selection, including no double mentions for a single category in a year, or double mentions for an artist. And we’ll also be giving the boot to the nomination we would replace in our snubs’ place. Here we kick off the month of May with our first (unranked!) 20 snub selections!

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We have another movie we adore to discuss this week! Writer/director Tamara Jenkins has long gaps between films, but has nevertheless delivered an all-killer-no-filler lineup, beginning in the late 1990s with Slums of Beverly Hills and returning a decade later with the Oscar-nominated The Savages. Her next film another decade later, Private Life, starred Kathryn Hahn and Paul Giamatti as New York creatives going through every hurdle to have a baby, including considering their adrift niece (played by Kayli Carter) as a surrogate. The film was a part of Netflix’s awards slate, but didn’t receive nearly the push as some of the streamer’s other films in their awards slate, but we will always eagerly await the next Tamara Jenkins project.

This episode, we talk about Kathryn Hahn’s formidable career of praised (and sometimes undersign) television performances, and the culmination of appreciation for the actress around WandaVision. We also discuss Giamatti’s “shady record exec” period, Netflix’s emergence as an awards player, and Hahn’s appearance in the THR Actress Roundtable and swooning for Rachel Weisz.

Topics also include the AARP Movies for Grownups qualifications for Best Grownup Love Story, Applebee’s menus, and John Carroll Lynch joins our Six Timers Club.

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After the Oscar winning success of Juno, 2011 gave us the reunited creative force of screenwriter Diablo Cody and director Jason Reitman, but in a different mode that that heartwarming crowdpleaser. Young Adult cast Charlize Theron, an author and former prom queen who returns to her hometown to win back her high school boyfriend, played by Patrick Wilson. After Reitman’s Up in the Air peaked early in its Oscar season, this film skipped the festival route and performed modestly, earning an immediate reputation as a mean and caustic movie. With brilliant supporting work from Patton Oswalt, Collette Wolfe, and Elizabeth Reaser, the film has earned ardent fans since, despite missing out on Oscar.

This episode, we discuss the film’s cutting observational humor and the thorny wit that makes Mavis Gary such a memorable character and performance by Theron. We also discuss the Best Actress and Original Screenplay field of 2011, the film’s use of Teenage Fanclub’s “The Concept,” and long-suffering Pomeranian, Dulce.

Topics also include KenTacoHuts, gay people liking mean women, and hating the 2011 Oscar lineup.

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We talk about awards hopes thwarted by release date pushes, and this week is the mother of all of them. Originally intended as Garth Davis’ speedy follow-up to Lion for Thanksgiving 2017, Mary Magdalene cast Rooney Mara as the biblical woman and Joaquin Phoenix as Jesus. The film reexamines Mary Magdalene role among the disciples and how history has viewed her, and attempts a feminist perspective to biblical narratives. But shortly after it wasn’t announced for any fall festival lineups, the film was pushed to Easter 2018. When the Weinstein expose arrived, the film was then caught in US distribution limbo, arriving on schedule overseas but not seeing (few) American theatres until 2019.

This episode, we talk about Davis’ success with Lion in the 2016 season and our hopes for his upcoming Satires Ronan starrer Foe. We also discuss Joe’s Catholic upbringing and knowledge, how Jesus would’ve handled social media, and the chances Mara would have had in the Best Actress race had the film arrived in its original season.

Topics also include Phoenix’s whole vibe, MANY music references, and Hot Judas.

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We are joined by none other than You Must Remember This’ Karina Longworth this week to talk about one of our most unique and most requested Oscar cases. In 1994, The Last Seduction gave a modern riff on classic noir with a sexually frank femme fatale played by Linda Fiorentino who pulls a game of deception on multiple men. The film initially aired on HBO, but an enthusiastic critical response built towards October Films giving the film a theatrical release. With Fiorentino’s performance earning major critics prizes and even a BAFTA nomination, October Films sued the Academy when the film was deemed ineligible thanks to its television debut. Though nothing came from the suit, the film has continued to amass its fans in recent years.

This episode, we talk about Fiorentino’s celebrated performance and some of the more troublesome aspects of the film’s politics. We also discuss You Must Remember This’ brand new season Erotic 90s, Dirty Dancing winning Best Original Song, and the film’s infamous chain link fence sex scene.

Topics also include Fiorentino’s reputation, Tom Cruise’s 1999, and buying Playboys in Serbia.

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After The Secret in Their Eyes won Argentina and director Juan José Campanella the 2009 Best Foreign Language Film Oscar, an American remake emerged with primo screenwriter and director Billy Ray attached. Dropping the The faster than a gritty reboot, the American Secret In Their Eyes not only drew top stars but, in adaptation, turned the original’s reflection on military rule into a post-9/11 set thriller of institutional corruption. With an awards friendly cast of headliners of Chiwetel Ejiofor, Nicole Kidman, and And-credit Julia Roberts, the film’s grim but tepid examination of morals deflated by the search for justice met an indifferent critical response after skipping the fall festival season.

This episode, we talk about Billy Ray’s work as a franchise screenwriter and trio of directorial efforts, including his sensational, underrated debut Shattered Glass. We also talk about the original’s Oscar win over early season Cannes-certified films The White Ribbon and A Prophet, the headliner’s television misfires, and actor Joe Cole’s dual villain roles as A Nose and Marshall Mathers.

Topics also include Laura Linney in an upcoming “Catholic 80 for Brady,” the strong run of recent International Feature winners, and Julia Roberts’ bangs.

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Every prestige actress overdue for an Oscar deserves her showcase, and after three Oscar nominations in under a decade, Joan Allen got hers written and directed by her The Contender costar Mike Binder. The Upside of Anger cast Allen as a mother of four whose husband suddenly abandons her, and she finds boozy solace with the former baseball player down the street. The actress earned raves for her all-out performance, along with Kevin Costner as her new lover and compatriot. But the film was a spring release and struggled to get arrested in the awards race, despite a Critics Choice nomination and regional critics wins, despite what is largely seen as an uncompetitive Best Actress field.

This episode, we talk about Joan Allen’s three Oscar nominations and other ones we think she should have received. We also talk about Costner in Baseball Kevin mode, the National Board of Review’s 2005 “excellence in filmmaking” lineup, the film’s underwhelming portrait of siblings, and the 2005 Best Actress race.

Topics also include listeners not being able to tell Chris and Joe apart, Allen’s Tony Award and theatre history, and the maligned The Mind of the Married Man.

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To settle your post-Oscar hangover, we’re cracking open the Class of 2021 films this week and we’ve invited Muppeturgy co-host Adam Grosswirth to join us. Dear Evan Hansen follows a titular teen battling severe social anxiety, who fabricates a friendship with his bully after he dies by suicide, and faces the consequences of his lie when he goes viral. After emerging victorious from the 2017 Tonys with a Best Musical win and cementing star Ben Platt’s performance into theatre legend, the musical was destined for a whole other kind of THOB legend. Once the trailer dropped, skepticism and mockery of the near-30 Platt playing a teen went rampant, and vicious reviews made the film DOA.

This episode, we unpack the many problems inherent to the material and the attempts to soften them on film that only… make more problems. We also discuss the 2017 Tony season, Julianne Moore attempting the risk of a singing role, Amy Adams disappointing recent years, and the origins of the songwriting oeuvre of Benj Pasek and Justin Paul.

Topics also include The Politician, director Stephen Chbosky’s association to multiple failed movie musicals, and orchard confusion.

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From Shakespeare in Love director John Madden and with a bursting prestige-y ensemble, The Best Exotic Marigold Hotel is one we have been saving. Led by Dames Judi Dench and Maggie Smith, who both had other films in the race in this season, the film follows several seniors who seek fulfillment and romance in India, including Tom Wilkenson as a man seeking reconciliation with a former gay lover. With Dev Patel as a young hotelier, the film was a global box office success that showed up throughout the precursor season, but Oscar did not come calling.

This episode, we take a look at the 2012′s wide-spread acting races, with all previous winners in Supporting Actor and Jennifer Lawrence winning Best Actress. We also talk about Smith’s two Oscar wins, Dench’s near nomination this year for Skyfall, and the Ol Parker franchise ethos.

Topics also include our winner predictions for this year, “The Quartet,” and Dev Patel going from twink to hunk.

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We decided to bring you a slice of joy this week with 2007′s Waitress. Starring Keri Russell as a small town waitress and inventive pie master stuck in a harmful marriage, the heartwarming film would eventually be adapted to the megabit musical with songs from Sara Bareilles. Its beginnings, however, were marked by sadness: in the months before its Sundance premiere, the film’s writer/director/costar Adrienne Shelly was tragically murdered. Waitress won over Sundance, becoming a summer hit for Fox Searchlight and generating praise for both Russell’s performance and Shelly’s delicate tone. However, the film lingered in the shadow of the previous year’s Sundance/Searchlight Oscar success of Little Miss Sunshine despite earning fans.

This episode, we talk about Keri Russell’s career and how Waitress falls between her two definitive television success: Felicity and The Americans. We also discuss the Mickey Mouse Club, the era of movies where characters don’t have abortions, and Celine Dion’s upcoming screen debut.

Topics also include various types of pie, the Sundance Houndog controversy, and the power of Felicity cutting her hair.

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We’re taking another dive into the Best International Feature category this week to talk about one of the biggest world cinema successes of the past year, Ruben Östlund. Though he made films before it, 2014 catapulted Östlund with the Cannes premiere of Force Majeure, a dark satire of masculinity, and relationships dynamics, and fight-or-flight impulses. The film continued on the fall festival circuit, amassing critical acclaim and advancing to the Foreign Language Film bake-off list as Sweden’s submission. However, on nomination morning, Force Majeure missed a heavily-predicted nomination.

This episode, we discuss Östlund’s reaction video to missing the Oscar nomination and the films that followed, including two Palme d’Or wins and now Picture/Director/Screenplay nominations for his Triangle of Sadness. We also discuss the immediately pre-COVID American remake Downhill, the lack of an International frontrunner in the 2014 race, and other directors who have won multiple Palmes.

Topics also include this year’s AARP Movies for Grownup awards, shading the International winner that year Ida, and sauna moshpitting.

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Longtime listeners will know that a special space in our podcast lore is reserved for our first six timer, Claire Danes. This week, we return to her work in the opulent and forgotten Stage Beauty. The film cast Danes as a stage dresser who longs to be an actress in a time when women weren’t allowed on the stage, and opposite Billy Crudup as an actor celebrated for his performances in female roles. In an anemic year for Globes Comedy, it looked like the film could fall into a similar vein of the recently Best Picture awarded Shakespeare in Love, but this became a costume drama that the industry overlooked.

This episode, we get into the film’s surprisingly curious (if still dated) eye towards gender and Crudup’s playful performance, which might be his very best. We also dive into the gossip of Danes and Crudup’s onset affair in which Crudup left a pregnant Mary-Louise Parker, her winning Globes speech that very year, and the elusiveness of an Oscar nomination for Crudup.

Topics also include the unmissable Fleishman is In Trouble, the Tribeca Film Festival, and the National Board of Review’s Special Recognition for Excellence in Filmmaking catchall.

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Listeners, are you ready to be exalted?! This week, we welcome back author, screenwriter, Listen to Sassy co-host, and now OSCAR NOMINEE Pamela Ribon. And to welcome her back we’re going on a road trip with some exotic male dancers for Magic Mike XXL. The somewhat surprising sequel to the 2012 original (previously discussed on this podcast) dispensed with the commentary on capitalism and gave us everything we wanted from Mike and the boys: more dancing, more skin, and more guys being dudes. But softer box office and softer reviews kept this totally-not-directed-by-Soderbergh-not-at-all sequel out of serious awards contention, excluding some late-year critical reassessment.

This episode, we celebrate Pam’s success with her animated short My Year of Dicks and our high hopes for Mike’s swan song, Magic Mike’s Last Dance. We also discuss Roxanne Gay’s recap, Magic Mike Live, and the film’s genius film ensemble including Jada Pinkett Smith, Andie MacDowell, and Elizabeth Banks.

Topics also include campaign rules, “going to nationals” as a concept, and Joe Manganiello causing your pants to rip.

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And we’re backbackback again with a special BONUS episode this week to talk about our experience will the films of the 2023 Sundance Film Festival! The big prize winner for US Dramatic Competition was A.V. Rockwell’s A Thousand and One, and Chris was wowed by it. We talk about our shared love for new films from our beloved Nicole Holofcener, Ira Sachs, and gnarly debut horror film by Laura Moss, birth/rebirth. We also get into the divisiveness of Magazine Dreams and Eileen, the crowdpleasing delights of Theatre Camp, Celia Weston LARPing in colonial garb in A Little Prayer, and lots more!

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An annual ritual returns! We are here to welcome the This Had Oscar Buzz Class of 2022! Off the top of the episode, we celebrate friend and former guest (and, spoiler alert, next week’s guest) Pamela Ribon on her Best Animated Feature Short nomination for My Year of Dicks and lament the To Leslie episode that could have been. We also get into the Riseborough situation and previous nominations that were rescinded. And of course we have our returning categories for movies we’re happiest (and saddest) to have missed out on Oscar nominations, most surprising to miss, most forgettable movie to receive Oscar buzz, and our most anticipated for a future episode.

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Letterboxd senior editor and podcast co-host Mitchell Beaupre joins us this week and is bringing their favorite film along, and it’s our oldest film yet: Martin Scorsese’s After Hours. In the mid-80s Scorsese was rebounding from his closest call with Oscar yet in Raging Bull and a first attempt to make The Last Temptation of Christ falling apart. In a quick turnaround, he made what some may call his most atypical film and freaked some critics out with its dreamlike, absurd take on male ego. With Griffin Dunne leading a cast that includes a delightful female ensemble of Rosanna Arquette, Teri Garr, Linda Fiorentino, and Catherine O’Hara, the film remains one of Scorsese’s most fascinating.

This episode, we get into the film’s underrated status and the oddball first Independent Spirit Awards where the film took top honors. We also discuss the Globes Comedy races where Dunne was nominated for Best Actor, going long distances for rep screenings, and the 1986 Cannes Film Festival.

Topics also include Ordinary People beating Raging Bull, the Bridesmaids SAG drinking game, and the To Leslie Oscar season surprise campaign.

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Joe: @joereid
Chris: @chrisvfeil
Mitchell: @itismitchell