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100 Years, 100… Snubs! – Part Three

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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100 Years, 100… Snubs! – Part Two

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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100 Years, 100… Snubs! – Part One

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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240 – Private Life

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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239 – Young Adult

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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238 – Mary Magdalene

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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237 – The Last Seduction (with Karina Longworth!)

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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236 – Secret In Their Eyes

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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235 – The Upside of Anger

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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234 – Dear Evan Hansen (with Adam Grosswirth!)

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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