March 2021 – This Had Oscar Buzz

138 – All the King’s Men

We’re finally getting around to one of the most notorious of aughts era failed awards plays, Steven Zaillian’s All the King’s Men. A remake of the former Best Picture winner and originally heavily predicted in the 2005 season, the adaptation was unceremoniously punted into the following year. The next September, the film had a disastrous debut at TIFF and was in and out of theatres within a month. Incoherent and uninspired with a barking Sean Penn at the center, the film is a soup of accents and flat convolutions that makes for a flop that is more boring than cringeworthy.

Zaillian has yet to direct a film since, but we look back at his other directorial efforts like Searching for Bobby Fisher, as well as a writing career that’s paired him with a top tier of directors. This week, we look at the 2006 Toronto International Film Festival packed with successful Oscar plays and remembered for its thwarted Borat premiere. And we discuss The Departed and Scorsese’s winding road to Best Picture, almost again blocked by a stealth Clint Eastwood. Mark Ruffalo quiz alert!

Topics also include Kate Winslet’s odd lineup of 2006 titles, why Jude Law is better when not playing a traditional leading man, and the traumatic cinema experience that is Jack the Bear.

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Class of 2020

It’s finally here: our This Had Oscar Buzz Class of 2020! Even in a COVID-impacted Oscar year that saw a longer eligibility calendar and much fewer trips to the theatre, we still have a slew of movies with Oscar hopes that were left out in the cold on nomination morning. And we are here to celebrate (or at least in the case of The Little Things commemorate) them! We get into our favorites and yours from the year of Unprecedented Times, and we break them into several categories, from the movies we were happiest or saddest didn’t make the Oscar cut, the most forgettable, and the ones we can’t wait to give the full THOB treatment to first!

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137 – Live By Night

After landing a Best Picture winner that famously left him without a Best Director nomination for Argo, Ben Affleck made his director-star return in 2016 with Denis Lehane adaptation Live By Night. Affleck cast himself as a criminal caught between the Irish and Italian mobs in Tampa (with an ensemble that included Chris Messina, Zoe Saldana, and Elle Fanning) and is a muddied mess of mob movie tropes. The film shuffled release dates and opened with a whiff at the end of the year, failing to catch audiences amid a packed Oscar season and its own floundering reviews. Live By Night was forgotten and out of theatres once nominations arrived.

This episode, we talk about Affleck’s successes and stumbling blocks, including our own conflicting feelings about him as an actor, director, and celebrity. We also look back at Affleck’s shocking Best Director snub, his habitual casting of himself shirtless, and Warner Bros. disappointing 2016 which also included the introduction of Batfleck.

Topics also include our Top 10 films of 2016, Affleck’s meta casting in Gone Girl, Sienna Miller facial blindness.

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136 – White Oleander (with Nathaniel Rogers)

Pfor this week’s episode, we’ve invited The Film Experience creator and Michelle Pfeiffer superpfan Nathaniel Rogers back to discuss one of our listeners most requested films, 2002′s White Oleander. Based on the beloved novel by Janet Fitch, the film stars Allison Lohman as the teenage Astrid, who is plunged into the foster care system after her manipulative artist mother Ingrid (a phenomenal Pfeiffer) kills her boyfriend and is sent to prison. The film suffers from moving too briskly between Astrid’s foster homes (with Robin Wright and Renée Zellweger cast as various mothers) and met poor anemic reviews that left the film and Pfeiffer’s work forgotten in a backloaded awards season.

This week, we talk about the 2002 Supporting Actress race including who we think placed fifth in the nominations and the performance Nathaniel thinks derailed her chances. We also look at Oprah’s Book Club, Pfeiffer’s reticence with doing press, and personal Oscar grudges over Pfeiffer’s best work.

Topics also include Melissa McCarthy as an EMT, Robin Wright pronouncing the word “virus”, and Sheryl Crow’s The Globe Sessions (which, yeah, Chris misremembers instead of C’Mon C’Mon).

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135 – The House of the Spirits

By today’s standards, this week’s film stands out for its gobsmacking cast of Meryl streep, Gleen Close, Jeremy Irons, Antonio Banderas, and Winona Ryder. But back in the 90s, The House of the Spirits caught attention as both an adaptation of Isabel Allende’s beloved novel and the biggest acquisition Miramax had ever landed. Set over decades in Chile with mild mysticism and political revolution, the film whitewashed and condensed the novel into a poorly received epic long forgotten by year’s end – with Miramax enjoying their biggest success yet in Pulp Fiction.

The film was the follow-up to back-to-back Palme d’Or wins for director Bille August, after The Best Intentions and the Oscar-annointed Pelle the Conqueror. This episode, we look to Palme d”or winners for a round of Alter Egos as we discuss the film’s many problems. We discuss the false narrative of Streep vs. Close among Oscar obsessives, Ryder as a quintessentially 90s star, and Streep’s early 90s roadblocks.

Topics also include “an abundance of juices”, Irons’ expanding set of false teeth, and Close’s Oscar chances this year.

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134 – Big Eyes (with Jorge Molina)

After years of cast announcements, a biopic of painter Margaret Keane escaped development hell thanks to director Tim Burton and Oscar hopeful Amy Adams with 2014′s Big Eyes. A departure from Burton’s late-career big-budget preexisting IP efforts, the film promised a showcase for Adams that could earn her that elusive Oscar after her previous five nominations. This week, writer and Just To Be Nominated creator Jorge Molina joins us to talk about the film’s underwhelming insight into Margaret Keane and its wild miscasting of Christoph Waltz as her scheming husband that took credit for her work.

This episode we look at the diminishing returns of Tim Burton’s career, from a filmmaker formative to the taste of a generration of young cinephiles to the forgettable spectacle that fills his current era. We also discuss how close Adams might have been to a win in her nominations, the biopic screenplays of Scott Alexander and Larry Karaszewski, and the sparse lyrics of Lana Del Rey’s Globe-nominated title song.

Topics also include the year of Alejandro González Iñárritu, Alfonso Cuarón, and Guillermo Del Toro arrived as a lasting Oscar narrative for Mexican filmmakers, previous nominations for Burton films, and when they handed out craft category Oscars in the aisles.

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