October 2021 – This Had Oscar Buzz

168 – Never Let Me Go (with Tara Ariano)

This episode, Extra Hot Great co-host Tara Ariano returns to us to talk about another much-requested film, 2010′s Never Let Me Go. An adaptation of Kazuo Ishiguro’s incredibly lauded science fiction novel, the film stars a post-nomination Carey Mulligan opposite Keira Knightley and breakthrough Andrew Garfield as clones raised for the sole purpose of harvesting their organs for the regular people of society. The film was the sophomore feature of Mark Romanek and adapted by Alex Garland, and met a cold to mixed reaction on the festival circuit before quickly exiting theatres and the awards race.

The film still has its ardent fans (including a few of us on mic), but also fell victim to Fox Searchlight’s shifting awards possibilities in its muscular slate of films that year. We look back at Romanek’s reception in comparison to another music video director’s sci-fi-adjacent Oscar film, certain fall festivals going in and out of favor as perceived Oscar launch pads, Rachel Portman’s original score, and Mulligan’s roles between nominations.

Topics also include Andrea Riseborough facial blindness, “Gay or Just Nice to Me”, and Bad Art Friend.

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167 – The Life Aquatic with Steve Zissou

We’ll get you a red cap and a speedo for this week’s episode, becuase we’re talking about Wes Anderson for the first time with The Life Aquatic with Steve Zissou. The follow-up to Anderson’s first Oscar-nominated film The Royal Tenenbaums put Bill Murray front and center in the year after Murray almost won Best Actor for Lost in Translation. But critics were far less kind to this film than Anderson’s previous efforts (it remains his only rotten movie on RT), and voters looking to reward Murray for his previous loss were met with a more caustic and off-putting character than hid lauded “sad Murray” era.

This episode, we look back at how Murray was shockingly snubbed for Anderson’s Rushmore and the ebbs and flows of Anderson’s career in relation to audience/critic perceptions. And since no performance in a Wes Anderson film has ever landed an Oscar nomination, we pick our top 5 performances in his films we think are most deserving.

Topics also include Seu Jorge’s David Bowie covers in Portuguese, whether or not Ray is appropriately categorized as a musical, and which performance in The French Dispatch has the best chance at a nomination.

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166- To Die For

Nicole Kidman finally joins the THOB Six Timers Club this week with what many consider her first major critical success. In the same year that Kidman had a major blockbuster in Batman Forever, the actress joined forces with Gus Van Sant for satirical Joyce Maynard adaptation To Die For. The film starred Kidman as the fame obsessed (and possibly murderous) Suzanne Stone, earning the actress raves and a Golden Globe for Best Actress in a Comedy/Musical, but stiff competition among lead actresses left the film as a headscratcher of an Oscar snub in hindsight.

To Die For was also a rebound for Van Sant from the disastrous Even Cowgirls Get The Blues, and we look back at his career balanced between big successes and major misfires. We also talk about Illeana Douglas’ burst of great supporting roles in the 1990s, the emergence of tabloid and talkshow culture, and the 1995 Cannes Film Festival.

Topics also include the late work of screenwriter Buck Henry, Goldie Hawn in Protocol, and what the plot of Vanessa Redgrave-starrer A Month By The Lake might be.

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BONUS – NYFF We Love You! We REJECT This BLASPHEMY!

We’re back stumping film festivals to bring you this bonus episode on our experience with this year’s New York Film Festival slate! Here Joe reflects on the Oscar potential of The Tragedy of Macbeth and The Power of the Dog, and Chris says Pedro Almodóvar’s Parallel Mothers features one of Penélope Cruz’s very best performances. We discuss other films in the lineup like The French Dispatch, Titane, The Worst Person in the World, Red Rocket, The Velvet Underground, and C’Mon C’Mon. Topics also include catholic protestors, goings-on in the International Feature category, and the potential for a Picture/Director split coming this year.

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165 – The Counselor

There are few names in modern literature with more prestige than Cormac McCarthy, and his work has been adapted into the likes of Best Picture winner No Country for Old Men. For his first produced original screenplay, he partnered with one of the most prestigious names in movies and our most discussed director, Ridley Scott. Together they brought an all-star cast led by Michael Fassbender for a tale of violence and hubris called The Counselor. With scenes of Cameron Diaz humping a car and Brad Pitt being slowly beheaded by a mechanized wire lasso, The Counselor was immediately dismissed by (most) critics and audiences for its interminable plot and excessive violence.

This episode, we talk about film adaptations of Cormac McCarthy’s work and Ridley Scott’s upcoming twofer Oscar hopefuls this season in House of Gucci and The Last Duel. We also discuss offensive onscreen representations of Mexico, Fassbender’s hard-to-place screen persona, and bastardization of the MTV Movie Awards.

Topics also include Ridley Scott trailers, Bardem’s styling in the movie, and “The Continental.”

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