Academy Awards – Page 5 – This Had Oscar Buzz

283 – Garden State

We’re finally diving into the time capsule that is 2004’s Garden State. The writing and directing debut of Zach Braff, the film stars Braff as a depressed actor who returns to his Jersey home to attend his mother’s funeral. Once there, he reunites with former friends and maybe meets the love of his life (played by Natalie Portman in an urtext manic pixie dream girl mode) who helps him reevaluate his life. The film was a Sundance sensation and unleashed a gangbusters trailer package, igniting the love of young cinephiles, if not the Academy.

This episode, we discuss what about the film has aged poorly and its place in Fox Searchlight’s very busy 2004. We also talk about the film’s incredibly popular and definitive soundtrack, Portman’s performance and career up to her first Oscar nomination, and Jackie Hoffman’s brief performance in the film hilariously singing Lionel Ritchie.

Topics also include the personal stages of life we were in when we first saw the film, how gross it is to share headphones, and Rachel McAdams and Ryan Gosling winning Best Kiss.

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282 – Music (Patreon Selects)

On top of all the horrors of the pandemic, let’s not forget that that time also gave us cringe cinema directed by Sia. This week, we come to you with another Patreon Selects, where sponsor listener Stuart has tasked us with that very film. Initially shot in 2017, Sia’s Music cast Kate Hudson as a troublesome drug dealer tasked with taking over the care of her younger autistic sister, played by Sia protege Maddie Ziegler. The ill-conceived film earned a deserved firestorm of outcry for Sia not casting a neurodivergent performer and the singer’s initial dismissive reactions to the controversy, but then earned two shock Golden Globe nominations in the Musical/Comedy categories.

This episode, we unpack all that makes this our presumed worst film we have yet to discuss. We also talk about supporting star Leslie Odom Jr.’s presence in the film in the same season as his dual Oscar nominations for One Night in Miami…, Hudson’s newfound music career, and the films that the Globes could have sensibly nominated in Music‘s place.

Topics also include whatever the hell Mary Kay Place is doing in this movie, Hudson and Odom Jr. in Glass Onion, and the current hideous Globe statue.

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281 – Fair Game

We return to the work of Naomi Watts this week for a discussion on 2010’s Fair Game. Costarring with Sean Penn for the third time in a decade, Watts starred as outed CIA agent Valerie Plame with the film detailing the leaking of Plame’s identity amidst her husband Joseph C. Wilson’s criticisms of the Bush administration. With Doug Liman taking the director’s chair after a series of action films, the film is a surprisingly sober recounting of the Plame story and one of Hollywood’s better offerings deconstructing that era of American culture. But despite launching the film at Cannes and Watts’ solid performance, the film became yet another disappointment among the many political dramas of the period.

This week, we talk about the career of Liman, including the fraught production of The Bourne Identity. We also discuss Watts’ period between her two Oscar nominations, the general landscape of Bush era politics and how few films successfully unpacked it well, and the relative box office disappointment of Edge of Tomorrow.

Topics also include Feud: Capote vs. The Swans, Bush administration names like “Scooter,” and the National Board of Review’s Freedom of Expression award.

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280 – State and Main

Forgotten cinema, you ask? This week, we’re coming to you with 2000’s State and Main, a Hollywood satire and ensemble comedy from lauded playwright David Mamet. A farce about a film production wreaking havoc on small town America, the film featured a very Mametian cast of Alec Baldwin and William H. Macy along with of-the-moment stars on the rise like Philip Seymour Hoffman, Sarah Jessica Parker, and Julia Stiles. An ensemble win from the National Board of Review helped coast the film through the season, but it managed little other award mentions despite strong reviews.

This episode, we talk about David Mamet’s high (but waning) regard in the American theatre in contrast to his more under-the-radar film reputation. We also talk about PSH’s late-90s breakthrough years, SJP’s reign over the Globes for Sex and the City, and WHM’s surprising lack of an Oscar nomination since Fargo.

Topics also include “so that happened” as a punchline, Fine Line Features, and NBR giving Best Picture to Quills.

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279 – Nope

With another Oscar ceremony coming to a close, it’s time to crack the seal on the Class of 2022 movies and we couldn’t wait to talk about Jordan Peele’s Nope! Priming audiences for a big summer alien invasion film, Peele also delivered a film with a lot on its mind about society’s relationship to witnessing and capturing violent spectacle, the film industry’s history of disregard for Black artists, and how we package our own traumas. With a terrific ensemble led by Daniel Kaluuya and Keke Palmer as siblings who discover an unexplainable phenomena in the skies, Nope is perhaps 2022’s biggest head-scratcher among films not recognized by the Academy.

This episode, we talk about the 2022 box office dynamic that unfairly tainted Nope as a box office disappointment and its many, rich avenues for narrative interpretation. We also talk about Kaluuya’s underrated performance, Palmer’s contrasting performance that was campaigned in supporting, and what makes the movie a monster movie vs. an alien movie.

Topics also include Gordy going off, Hoyte van Hoytema’s cinematography, and breakthrough star Jean Jacket.

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278 – Annette

Coming out of the COVID-led doldrums of 2020, the Cannes Film Festival loomed large as a “movies are back!!” starting gate for global cinema. Its opening film, Annette, was a long-in-development rock opera with music by cult fave Sparks and directed by visionary auteur Leos Carax, returning to the Croisette with his first film in nearly a decade. With Adam Driver at the helm as a batboy shock jock comedian who falls in love with opera star Marion Cotillard to disastrous results, the film is a bizarre fantasia about destructive creative ego and features a puppet as the titular baby singer. Though the film drew raves and buzz around Driver and Sparks’ score, Annette was alas too freaky for the Academy.

This week, we talk about Driver’s career and how his unique physicality makes him a worthy successor to Carax’s usual collaborator Denis Lavant. We also talk about the other famous castings while the film sat in development, the 2021 Original Song contenders, and Simon Helberg’s supporting performance.

Topics also include Baby Annette in the gay stan wars, Carax’s filmography, and the 2021 Cannes Film Festival.

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277 – Beautiful Boy

Attention, Dune-heads, we’re talking about Timothee Chalamet this week! In 2018, fresh off of his first Oscar nomination, Chalamet joined Steve Carell for Beautiful Boy, an adaptation of David and Nic Sheff’s memoirs about a young man’s addiction and his father’s attempts to help him. Directed by Felix van Groeningen (who’d directed nominated international feature The Broken Circle Breakdown), the film is a somewhat scattered and ineffective weepie that strains Carell’s limitations but nevertheless earned Chalamet Best Supporting Actor nominations at all the major precursors.

This week, we talk about Carell’s career starting with The Daily Show and his more tricky dramatic work. We also talk about Chalamet’s quick ascent following his Call Me By Your Name success, Maura Tierney’s impactful but too brief role, and 2018 Best Supporting Actor.

Topics also include Dune Part 2, TIFF 2018 galas, and the Beautiful Boy Erased is Back vibes of 2018.

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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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275 – The Woman in the Window (Patreon Selects)

We’re wrapping up our run of Patreon Selects episode with a real doozy! Originally intended for 2019, The Woman in the Window was meant as a prestige adaptation of a popular thriller, packing quite the pedigree. With the attached talents of director Joe Wright, writer Tracy Letts, and star Amy Adams (along with a stellar supporting cast), the film follows an agoraphobic who witnesses a murder across the street, setting off a mystery of mistaken identities and skewed perceptions of reality. Then, it was hit by a rapid succession of misfortunes including the Disney-Fox merger, a cringe-inducing exposé on author A.J. Finn, and, well, the pandemic.

This episode, we talk about what went wrong and what might have been watered down by the Tony Gilroy reshoots. We also discuss Adams’ recent run of disappointing roles, our hopes for Nightbitch later this year, and Jennifer Jason Leigh joins our Six Timers Club!

Topics also include the emergence of Fred Hechinger, Julianne Moore’s brief boozy performance, and the film’s somewhat unceremonious Netflix drop.

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274 – Certified Copy (Patreon Selects)

Our patrons said we must stay in Tuscany! This week, we’ve got another Patreon Selects episode and it has us talking about one of our least favorite Oscar years. In 2010, Abbas Kiarostami returned to Cannes with yet another masterpiece in Certified Copy, a dense and transfixing musing on reproductions of art, authenticity, and perception. The film didn’t release stateside until 2011, but did earn Juliette Binoche Best Actress at Cannes and a wide range of critical response, from befuddled to enraptured. But Certified Copy became more of a critical favorite than Oscar hopeful, while a different Iranian filmmaker, Asghar Farhadi, would win the country’s first international Oscar for A Separation.

This episode, we talk about Binoche’s career including her mixed bag of American projects. We also talk about the film’s slippery presentation of reality and role-play, the Iranian New Wave and Iran’s Oscar history, and the 2010 Cannes Film Festival.

Topics also include other 2011 favorites in a bad Oscar year, coffee shop ladies, and Cannes acting prizes.

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