Host – Page 29 – This Had Oscar Buzz

071 – Pan (with Katey Rich)

This week, we welcome back our first ever returning guest: VanityFair.com deputy editor Katey Rich! And what better topic to discuss (as mutual defenders of the work of director Joe Wright) than 2015′s Pan? The film was yet another retelling of the Peter Pan story, this time arriving amidst expectations for Wright to deliver another design spectacle before receiving a savage critical drubbing.

Much as we would love to defend Wright’s honor, we unpack how Pan is an unfortunate spectacle of bizarre design, racial insensitivity, and motifs ripped off from Moulin Rouge!. Also in this trivia-packed episode, we look back at Best Picture and the PG rating, decipher the difference between our Garrett Hedlunds and Charlie Hunnams et al., and how this Neverland saga compares to that other critically reviled one, Steven Spielberg’s Hook.

And at the top of the episode, we announce something special coming to you very soon: another mailbag episode! Send your questions to us on Twitter (@Had_Oscar_Buzz) or email us at [email protected]!

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070 – Prêt-à-Porter (Ready to Wear)

Robert Altman had a major comeback in the early 90s, scoring back-to-back lone Director nominations for The Player and Short Cuts. His follow-up, 1994′s Prêt-à-Porter (that’s Ready to Wear for American audiences and fellow philistines), aimed to skewer Paris Fashion Week to comedic effect, but instead ended Altman’s Oscar hot streak that wouldn’t be reignited until 2001′s Gosford Park.

This week, we take on Altman’s improvisational style when it doesn’t work for this imprecise satire starring an underutilized Julia Roberts, Linda Hunt in Edna Mode mode, and Tracy Ullman in an Amy Sherman-Palladino hat. The film is a convergence of early 90s fashion and supermodel obsession, house music, and independent cinema stars. Still landing Golden Globe nominations for Best Picture – Musical/Comedy and Supporting Actress for Sophia Loren (in the year of her Cecil B. DeMille prize), it ultimately was too much of a disappointment to get Oscar’s favor.

We also discuss a never-better Kim Basinger, the recent history of Oscar’s lone director nominees, and one-hit-wonder Ini Kamoze’s “Here Comes the Hotstepper”. It’s fruitcake time, listeners!

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069 – Ladies in Lavender (with Danita Steinberg)

A perfect example of an early, long-list Oscar prediction movie, 2005′s Ladies in Lavender arrived after multiple festivals to a successful arthouse run thanks to the presence of its Dame headliners Judi Dench and Maggie Smith. But despite coming in the era primed to reward this kind of women’s picture and both actresses in particular, the film ultimately was too early and too small (on top of being overshadowed by Dench’s Miramax picture Mrs. Henderson Presents later in the year) to make a major awards dent on the season.

This week, We Really Like Her podcast cohost Danita Steinberg joins us to talk about the aughts dominance of Dames Judi and Maggie, and their outsider potential for Supporting Actress nominations this year. Topics include the near miss Oscar potential of The Best Exotic Marigold Hotel, the 2005 Best Actress lineup, and Oscar resentments from costar Miriam Margoyles.

We also discuss the film’s shocking lack of the titular lavender and the one actor that Meryl Streep hating working with. And as you might expect, all roads lead back to The Hours.

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068 – The Secret Life of Walter Mitty

In the fall festival season, a primo premiere status can assert a film as having major Oscar ambitions. This week’s title, 2013′s The Secret Life of Walter Mitty, is a such a case – after debuting an eye-catching trailer, the film debuted as the centerpiece selection of that year’s New York Film Festival. But this typically very selective festival provided a major platform for the film that the film couldn’t measure up to, earning the film an underwhelming status it couldn’t overcome before its Christmas day release.

Directed by and starring Ben Stiller, the film struggles with the payoff of its character arc and its sense of magical realism, making for a disappointing modern remake. This week, we look at the film’s heavy-handed product placement and music cues, and the brief recent history of New York Film Festival’s world premiere gala selections.

We also discuss this year’s fascinating and defensible Golden Globe acting nominations, the film’s notoriously unruly first press screening, and we predict this year’s National Board of Review Top Ten.

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067 – Cadillac Records (with Jourdain Searles)

This week, Bitch Media writer and Bad Romance podcast host Jourdain Searles joins us to talk about 2008′s musical multi-biopic Cadillac Records. Most famous for Beyoncé’s performance as Etta James, the film arrived when audiences and Oscar were getting fatigued with the genre. But detailing the groundbreaking Chess Records, the film spreads its attentions over several artists (including Jeffrey Wright as Muddy Waters) while it centers on as Adrien Brody as record exec Leonard Chess.

The film itself earns our positive praise for the most part, but we all effusively praise Beyoncé’s invested (even if she doesn’t until an hour into the movie) and transformative performance. But Oscar ultimately overlooked her work along with the film as a whole.

We also discuss Adrien Brody’s fitful post-Oscar career (including a dreadlocked cringe moment on SNL), the short-lived Oscar telecast presentation of former acting winners presenting the nominees, and Jeffrey Wrights understated gifts.

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066 – Bounce

This episode, we have another psychotic romance for you with 2000′s Bounce. One of Miramax’s 2000 awards-hopeful misfires (which ultimately led to the rise of Chocolat), the film stars Gwyneth Paltrow and Ben Affleck as two would-be lovers brought together by a plane crash – only she doesn’t know that he’s the one that gave a ticket to his now-dead husband. At the time, the film was sold almost exclusively on the former relationship between the stars and ultimately that was all it got attention for.

Bounce was also somewhat of a downshift in critical affection for writer-director Don Roos after the prickly Indie Spirits favorite The Opposite of Sex. Though this film sparks with some of his sharp dialogue, Bounce suffers from too many plot contrivances to make the love story less queasy. In the end, a heavy hitter year in the lead acting categories easily shut out the two stars out already dealing with backlash after their Oscar wins.

We also take a look back at the fits and restarts of Affleck’s career from the perfect casting of Gone Girl to the almost matinee idol days of Armageddon, discuss the era that was Brunette Gwyneth, and we return to our beloved Blockbuster Entertainment Awards.

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065 – Bringing Out The Dead

With the incoming arrival of a new Martin Scorsese film with The Irishman, naturally we had to talk about the master, right? But rare is the film that results in no Oscar nominations for Scorsese – except for this week’s film which came at the end of the director’s downward trend with the Academy. Even forgotten among Scorsese diehards, we’re unpacking 1999′s Bringing Out The Dead. A strange look at a night shift insomniac paramedic played by Nicolas Cage (leading a wild ensemble that ranges from Patricia Arquette to Tom Sizemore to… Marc Anthony), this one leaves Joe and Chris divided on its merits and place in the Scorsese filmography.

The film reunited Scorsese with his Taxi Driver screenwriter Paul Schrader and served a somewhat hallucinatory, somewhat religious vision of the gritty New York City streets. Did it just get lost in the shuffle of the landmark 1999 film year or was this a victim of dwindling perceptions of Scorsese’s work before the 2000s firmly returned him to the Academy’s graces?

This episode, we look at Scorsese and Cage in their transitional stage between Oscar love, offer our own 1999 Top Ten lists, and Patricia Arquette’s little corner of horror movie history. Special shout out this week to artist Athena Currier for tributing us in Inktober!

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064 – The Evening Star

Is there a faster fast track to Oscar buzz than being a sequel to a Best Picture winner? While there may not be much of a sample pool beyond The Godfather series, 1996 gave us The Evening Star, a follow-up to Terms of Endearment and Shirley MacLaine’s Aurora Greenway. This time without writer/director James L. Brooks (replaced here by Steel Magnolias scribe Robert Harling making his directorial debut), the Academy did not give this proverbial daughter a shot.

This week, we spread the film’s ashes from a speeding beach convertible as we discuss the ways the film disappoints in the shadow of Terms of Endearment, but still has its own charms. And no, we don’t just mean Scott Wolf in his tighty whities.

We also look back at MacLaine’s legendary career (including her all-timer Oscar speech), spitballs who might be the eponymous dames of the eventual Tea With The Dames 2, and go deep on the very personality heavy 1996 Golden Globes lineup of nominees.

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063 – Morning Glory

What was it that placed a light comedy like Morning Glory on early Oscar predictions in 2010? Was it the potential for a morning news riff on Broadcast News brilliance? The ascendancy of Rachel McAdams that we knew would eventually pay off with an acting nomination? Or the late career turn as journalist curmudgeon from Harrison Ford, who in recent years has generated Oscar talk for even The Force Awakens? Turns out it was a little bit of all of those things.

However, Morning Glory quickly faded from Oscar prognosticators radar when it opened to quite disappointing box office and middling reviews. Unfortunately, the film never quite satisfies on its promise, even with a winning cast that also includes an underserved Diane Keaton and pre-uberhip era Jeff Goldblum. For McAdams, it would take being in a Best Picture frontrunner to land that first nomination we had been expecting, but Morning Glory at least has a few vocal fans.

This week, we feel the rain on our skin as we talk about the specific brand of pop optimism given to us by Natasha Bedingfield, the genius of screenwriter Aline Brosh McKenna, and Diane Keaton open-mouth kissing a frog.

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062 – Miss Potter

Certainly one of the biggest Oscar narratives this season will be Renée Zellweger’s return to the big screen, starring as the timeless Judy Garland in Judy. So to mark the occasion (with Chris highly anticipatory and Joe more hesitant in how far Judy can go), we’re discussing one of the actress’ few attempts at Oscar that didn’t register with the Academy in some way: the Beatrix Potter biopic Miss Potter.

The film thrust into Oscar late in 2006 as the newly established Weinstein Company was struggling with its awards fare. Perhaps too gentle of a film to register in a season that rewarded much grimmer subjects, the film’s awards hopes ended at Zellweger’s Best Actress in a Musical/Comedy at the Globes. This week, look back at Zellweger’s trajectory from Oscar shutout to Oscar perennial to the arrival of her comeback.

We also discuss director Chris Noonan and the legacy of Babe, the wildly underrated Emily Watson, and the highly thirstable Patrick Wilson in Little Children.

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