Academy Awards – Page 23 – This Had Oscar Buzz

112 – Goya’s Ghosts

Famous among Oscar predictors in the mid aughts, this week’s film had high sight unseen expectations that were thwarted by a prolonged release and dismal reviews. After twice winning Best Director, Miloš Forman followed a biopic heavy run in the 90s with the costume drama Goya’s Ghosts starring Natalie Portman and Javier Bardem. Cradling the period between the Spanish Inquisition and Napoleon’s later rule, the film is a murky rumination on art, religious power, and human corruptability from one regime to the next. Arriving stateside almost a year after its global release, the film was long forgotten by the time Bardem starting sweeping the season for No Country for Old Men.

The film also found Portman at a transitional point in her career, having earned her first nomination for Closer and leaving behind the Star Wars franchise. This week, we discuss Portman’s love of A Choice for better or worse, her 2010 win for Black Swan, and rapping on SNL.

Topics also include our beloved Flora Plum and other long-delayed Oscar hopefuls, the 2010 Hollywood Reporter Actress roundtable, and the film’s wild fake teeth.

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BONUS – And From Canada, Virtual Festival (A TIFF ’20 Recap)

BONUS EPISODE ALERT! Though physically returning to the Toronto International Film Festival this year proved impossible, we are delighted to bring you a special dispatch from the virtual festival. This year, TIFF went online (while still providing in-person screenings for Canadian viewers) and we unpack the awards potential from the lineup! We get into heavy hitters and possible acting nominees such as Chloe Zhao’s Nomadland, Regina King’s One Night in Miami…, and Anthony Hopkins and Olivia Colman in The Father. Topics also include our May miniseries subject Naomi Watts, the fest’s strong slate of documentaries, and films that might not make it into the awards conversation but should.

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111 – Much Ado About Nothing

We’re tackling our first Shakespeare adaptation this week with Kenneth Branagh’s Much Ado About Nothing. After launching immediately into Oscar’s good graces with his directorial debut Henry V, Branagh returned to the Bard with this lighter and more star-studded adaptation – but couldn’t match that previous film’s favor. With a cast featuring Emma Thompson, Denzel Washington, Keanu Reeves, and Michael Keaton, this film instead remains as a delightful and sexy good time.

This week, we look at Branagh’s long and category spanning history with Oscar and his evolution towards a studio director of franchise films. We also dive into his affair with Helena Bonham Carter, Emma Thompson’s double nominations in 1993, and the 1993 Golden Globe Musical/Comedy nominees.

Topics also include the recent film history of Shakespeare adaptations, Thompson’s “reveal” on the Ellen sitcom, and Imelda Staunton as beer wench.

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110 – The Meyerowitz Stories (New and Selected)

Netflix and the Academy have had a rapidly evolving relationship in the past several years. This week, we look at the short trajectory from demonstrative shutout for Beasts of No Nation to a potential domination this season with a discussion of their 2017 awards also-ran The Meyerowitz Stories (New and Selected). The less heralded and less seen of Noah Baumbach’s two films for the streaming giant stars Adam Sandler, Ben Stiller, and Elizabeth Marvel as extended siblings coping with their difficult father’s (Dustin Hoffman) waning health – and we kind of adore it.

Launched at the Cannes Film Festival (along with Okja) to boos at the sight of the Netflix logo, the film got lost in the shuffle for both critics and streamer-averse awards voters. Though Netflix would break through major categories that year with Mudbound, the streamer stigma would continue to play out in future seasons. This week, we’re talking about the whole Netflix thing, Noah Baumbach’s long break with Oscar post-The Squid and the Whale, and “Myron/Byron”.

Topics also include Marvel’s underrated performance, the 2017 Best Original Song nominees, and Sigourney Weaver introducing herself as herself.

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109 – The Way Way Back

We decided to end the summer with another Listeners’ Choice episode and your triumphant film was 2013′s Sundance title The Way Way Back. The film was another massive Sundance buy for Fox Searchlight, who sold it to audiences very much in the mold of its successful Little Miss Sunshine. But even with two of Sunshine’s Toni Collette and Steve Carell among the cast, audiences and critics alike were far less enthusiastic about The Way Way Back’s summer vibes, leaving the film forgotten by year’s end. Well, except by our good friends at the AARP M4Gs.

The highest praise for the film was granted toward Sam Rockwell, still in the phase of his career as a critics darling before his first Oscar nomination. We get into his newfound typecast as racists, how the film feels like it should be a period piece, and the ethos of festival fever.

Topics also include the Black List, water park culture, and Allison Janney as various anthropomorphized types of alcohol.

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108 – A Dangerous Method

If you look at many of the bizarre and not-safe-for-work fascinations embedded in the filmography of David Cronenberg, it might be surprising that the auteur’s work ever made it close to Oscar conversations. But this week, we’re looking at one of his films that did: 2011′s Freud and Jung horny costume drama A Dangerous Method. Starring Michael Fassbender as Jung and frequent Cronenberg star Viggo Mortensen as Freud, the film looks at the relationship between the two foundational psychologists and the women caught between their ideologies, Sabina Spielrein – played by Keira Knightley, in a divisively received performance.

The film also played a major part in Fassbender’s 2011 omnipresence, though Shame would be his closest Oscar contender of his many films this year. But it was the director’s then-increasing favor with Oscar that set most early predictions’ sights on this film. This episode, we take a close look at the Cronenberg resume and all of its fascinating perversions.

Topics also include 2011 Supporting Actress, Knightley’s relationship to costume dramas, and how A History of Violence came close to a deeper embrace by Oscar.

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107 – Prime

We’re back to discussing Meryl Streep (for the SIXTH time!) this episode for a film starring the legend opposite an actress who was overlooked for a defining work. After Oscar ignored the hyperviolent Kill Bill films and its iconic star, Uma Thurman seemed poised for future Oscar success. When she was cast opposite Streep for 2005′s Prime (in addition to a few other high profile roles that year), it looked like this could be more to Oscar’s tastes. Starring Thurman as a woman who falls for a younger man who happens to be the son of her beloved therapist, Prime ultimately was a misfire romantic comedy that quickly got forgotten.

This episode, we look at how the film is unsatisfying because it focuses too much on Bryan Greenberg as the male love interest and how it almost starred Meryl’s Oscar rival in a later season: Sandra Bullock. And we welcome Meryl to the THOB Six-Timers club and look back at the previous Streep films we have discussed.

Topics also include performer spouses of Real World castmembers, the accumulation of unhinged storylines on Boston Public, and “it’s fashion!”

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106 – Dr. T and the Women

This episode, we’re returning to the career of Robert Altman for one of the most bizarre films we’ve ever discussed. With a stacked female cast surrounding Richard Gere as a beloved Texan gynecologist, 2000′s Dr. T and The Women baffled audiences straight to its well-earned F CinemaScore. Erased from our memories one year later by the Oscar success of Gosford Park, this film lacks Altman’s distinct touch and interesting characters before it (literally) drives into a bizarre conclusion.

With a cast that also includes Helen Hunt, Kate Hudson, Tara Reid, Laura Dern, and a nude Farrah Fawcett frollicking in a mall fountain, Dr. T makes good on little of its promise. We look at Richard Gere’s screen persona prior to his near-nomination for Chicago, Altman’s stint in director jail post-Popeye, and how this film factored into the year’s narratives for Hunt and Hudson.

Topics also include the brief life of Artisan Entertainment, rich lady mall culture, and assassination tours.

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105 – Somewhere (with George Civeris)

After reaching Oscar success in 2003 with Lost in Transalation, Sofia Coppola has stayed mostly on the fringes of Oscar conversations with her distinct but understated filmography. This week, comedian and StraightioLab cohost George Civeris joins us to look back at perhaps her quietest film, 2010′s Somewhere. Starring Stephen Dorff as a B-movie star and Elle Fanning as his preteen daughter visiting him at his home at the Chateau Marmont, the film received a muted release at the end of the year and has since gained more ardant fans of its subdued emotional insight.

We discuss the film’s triumph and mishegoss at the Venice Film Festival, where it was awarded the Golden Lion by a jury led by Coppola’s friend Quentin Tarantino. We also look at Coppola’s frequently revisited portraits of privilege, her exceptional taste in song choices, and her performance in The Godfather Part III.

Other topics include the 2010 Best Actor lineup, newspaper ads as a bygone Oscar campaign tool / gay recruitment tool, and Britney Spears’ “Everytime” video.

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104 – The Terminal

Soak this one up, listeners, because this episode we’re taking one of the very few opportunities for us to talk about Steven Spielberg. The beloved director has one of the best Oscar track records in history, earning nominations for all but five of his feature films – including this week’s misfire, 2004′s The Terminal. Tom Hanks stars as a traveler from the fictional eastern European country of Krakozhia who gets trapped in JFK airport when a coup erupts mid-flight. What ensues is a too-cutesy and logic-defying fairy tale that is widely regarded as one of Spielberg’s biggest creative misses.

In this episode, we unpack all of the film’s tonal imbalances and its place in Spielberg’s post-9/11 triptych. We also look at costar Catherine Zeta-Jone’s post-Oscar (and pre-Tony) career, the one category we think The Terminal should have been nominated for, and Stanley Tucci as the film’s bland bureaucrat villain.

Other topics include Casa Zeta-Jones, Broadway billboards, and an extensive dive into all of the nominations (and wins) received by Spielberg’s films.

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