AARP Movies for Grownups – This Had Oscar Buzz

276 – Spanglish

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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249 – Love is Strange

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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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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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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233 – The Best Exotic Marigold Hotel

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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232 – Waitress

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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227 – The Old Man and the Gun

In 2018, it was reported that Robert Redford would be making his acting swan song with David Lowery’s crime caper The Old Man and the Gun. As the film received its festival debut, those retirement statements were backtracked, but audiences were still given a thoughtful and surprising fable about a real “Redford type” of character and a convincing love story with Sissy Spacek. Reviews were largely positive but muted, and with the film’s early season release and the dismissal of Redford’s earlier claims that this would be his last performance, the film remained an awards season trifle with a few devoted fans but no Oscar love.

This episode, we talk about Lowery’s varied and interesting directorial career thus far and Redford’s surprisingly spare history of awards traction for his performances. We also look back at the 1980 Academy Awards when Redford and Spacek won their Oscars, the lingering distaste among film lovers for Ordinary People beating out Raging Bull, and a post-Globe win and SAG nomination state of the current race.

Topics also include Spacek’s Oscar dominance in the 1980s, Elisabeth Moss joining our Six Timers Club, and the National Board of Review’s Top Independent Films of 2018.

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226 – The Leisure Seeker

When the 2017 Golden Globe nominations were announce, the question on everyone’s mind was “What the hell is The Leisure Seeker?!” Starring Helen Mirren and Donald Sutherland as an aging couple having one last getaway in their eponymous Winnebago, the film debuted in competition at Venice before also playing a TIFF gala and went entirely under the radar. Sony Classics quietly gave the film a qualifying release, successfully netting Mirren a Best Actress in a Musical or Comedy Golden Globe nomination despite so few seeing the film. The nomination was a head-scratcher to most, but was predicted by none other than our Joe Reid.

This episode, we discuss Helen Mirren’s vast history with the Golden Globes and assess the current diagnosis on the Globes and their often amusing nomination history. We also talk about Sutherland’s famously surprising lack of an acting Oscar nomination, other possible comedy leading actress contenders from 2017, and another round of Alter Egos.

Topics also include what famous festival jurors think of the movies they have to watch, the film’s half-baked look at the 2016 election, and surprise Danielle Deadwyler.

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223 – We Bought A Zoo

After the notorious failure of Elizabethtown, Cameron Crowe took a few years off and attempted to rebound with a warm-hearted family film, 2011’s We Bought A Zoo. The film starred Matt Damon in the very loose true story of a father struggling to raise his two children in the wake of his wife’s death, and finds the solution to their problems in a local zoo listed for sale with a few loyal animal wranglers (including contrived love interest Scarlett Johansson) still tied to the property. Though the film became a modest hit, its punchline title and feather-weight tone was not taken seriously by critics or awards bodies in a season filled with other stories filled with children and grief.

This episode, Matt Damon joins Meryl Streep as the only performers in our Ten Timers Club. We also discuss the varying degrees of failure in late stage Crowe films, Crowe’s AARP Movies for Grownups Best Director nomination against heavy hitters, and 2011′s many Oscar contenders featuring children.

Topics also include Diane Warren finally having her Oscar, the fake We Bought A Zoo Twitter account, and Content Creator Kits.

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222 – Away We Go

After winning Best Picture and Best Director for his zeitgeist-seizing debut feature American Beauty, Sam Mendes instantly became a director who generate awards chatter no matter the project. In 2009, he took a noticeable tonal downshift with Away We Go, a minor key comedy about a young pregnant couple on a road trip to decide where they want to grow their roots. Despite praise for Maya Rudolph’s performance as a soon-to-be mother still grieving the untimely death of her parents and John Krasinski opposite her as her jokester partner, the film didn’t succeed as summer counter-programming and mostly forgotten in the season to come.

This episode, we talk about the harsh reviews that found the film more judgmental than reflective and Rudolph’s understated and absorbing performance. We also talk about Alexi Murdoch’s soundtrack, possibly semi-autobiographical screenwriter marrieds Dave Eggers and Vendela Vida, and the film’s bursting ensemble of fantastic character actors from Melanie Lynskey, Allison Janney, and Maggie Gyllenhaal.

Topics also include this year’s New York Film Critics Circle award winners, Mendes’ pivot to Bond, and the lure of Montreal. Don’t forget to get submissions in for our upcoming mailbag episode!

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