Best Actor – This Had Oscar Buzz

317 – Chappaquiddick (Patreon Selects)

This week’s episode comes selected by one of our sponsor tier patrons over at our Patreon! The 2017 festival season brought us Chappaquiddick, director John Curran’s recounting of the titular incident where Senator Ted Kennedy was responsible in the accidental death of party secretary Mary Jo Kopechne. With Jason Clarke as Kennedy and Kate Mara as Kopechne, the film earned solid festival reviews (with even stronger notices for Clarke) but a planned qualifying release before the end of the year never came to be.

This episode, we talk about the short life of Entertainment Studios Motion Pictures and the 2017 qualifying release for the film that was canceled. We also talk about Clarke’s career in grunt roles, the film’s frustrating post-script in relation to Ted Kennedy’s career, and Bill Crystal’s Oscar hosting duties.

Topics also include vague movie titles, TIFF Galas, and Frederica Kimmel’s friend.

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310 – Man on the Moon

In 1999, director Milos Forman reunited with his People Vs. Larry Flynt screenwriters Scott Alexander and Larry Karaszewski for another biopic of an iconoclast, Man on the Moon. Rebounding from the Oscar snub for The Truman Show, Jim Carrey took on the role of Andy Kaufman and according to history, took it a bit too seriously. The film received some strong reviews and plenty of precursor action for Carrey (including another Golden Globe win), but the film proved an Oscar misfire for the twice Oscar awarded director and the still unnominated Carrey.

This episode, we talk about the industry’s (perhaps snobby) perceptions of Carrey and the faux method acting by Carrey that would later be documented by Jim and Andy. We also talk about the Alexander/Karaszewski biopic mold, Carrey’s biker chic MTV Movie Award acceptance speech, and the film’s reverence for Kaufman’s legacy.

Topics also include 1999 Best Actor, R.E.M., and “Courtney Love is in dire need of attention right now.”

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307 – Brad’s Status

Underdiscussed in the Mike White oeuvre is 2017’s Brad’s Status, the story of a father reflecting on his own formative college years while taking his son on a college visit. With Ben Stiller center stage, the film examines privilege and maleness with White’s exacting but humane eye for detail, resulting one of the most emotionally affecting works of his career without sacrificing his penchant for characters who aren’t always likable. Arriving the same year as both the White-scripted Beatriz at Dinner and the Stiller-starring The Meyerowitz Stories, this dramedy was yet another victim of Amazon’s mishandled marketing.

This week, we talk about Stiller’s recent years without of major acting roles and what makes this performance one of his best. We also talk about Austin Abrams’ performance as Brad’s son Troy, White’s other portraits of class, Stiller’s upcoming return in TIFF opener Nutcrackers.

Topics also include daydreams, Annapurna Pictures, and 2017 Original Screenplay.

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304 – American Psycho

Time to get controversh with with one of the most argued about films of the century, 2000’s American Psycho. Based on Bret Easton Ellis’ lightning rod novel, the film passed through multiple directors before landing in the inspired hands of Mary Harron. The independent director struck the right satirical note on Ellis’ difficult blend of consumerism and masculinity, and found a flawless muse as the titular psycho Patrick Bateman in Christian Bale. But the film’s sex, violence, and dark humor incited its own controversies and was too much for the Academy despite the praise for Bale’s performance.

This episode, we talk about the film as a launchpad for Bale’s adult career and how his lesser known status at the time almost lost him the role. We also talk about Bateman’s musical obsessions, the other casting choices for Bateman, and Reese Witherspoon joins our Six Timers Club.

Topics also include the Broadway musical version, the 2000 Sundance Film Festival, and 2000 Best Actor.

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303 – Red Rocket

With Anora anointed with the Palme d’Or this year, one of the narratives ahead in the coming season will be whether Sean Baker’s microbudgeted cinema will be embraced by the Academy in a big way. After lots of buzz for Tangerine and an acting nom for Willem Dafoe in The Florida Project, Baker was buzzed again for Red Rocket and its showcase performance for Simon Rex. With Rex as a manipulative down-and-out porn star returning to the small town that cast him out, Red Rocket‘s moral minefield and rueful comedy was ultimately not embraced by Oscar.

This week, we talk about Rex’s dynamic performance and the film’s recreation of the 2016 election cycle. We also talk about the meta elements of Rex’s casting, Baker’s rise among the ranks of independent cinema, and the 2021 Cannes Film Festival.

Topics also include donuts, 2021 Best Actor, and READ posters.

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300 – Collateral Beauty

We’ve hit another year of the podcast, arriving at our milestone 300th episode! No better way to celebrate that by finally revisiting one of the past decades most notorious bombs, 2016’s Collateral Beauty. Starring Will Smith as a grieving father, this all-star cast includes Edward Norton, Michael Peña, and Kate Winslet as his three friend who devise a plan to… oust Smith from their advertising firm by… hiring three struggling actors (Helen Mirren, Keira Knightley, and Jacob Latimore) to… portray the concepts of Death, Love, and Time that he has been writing letters to, and make him appear mentally unstable. Yeah, this one goes some places!

This episode, we talk about how the film’s imbalance with magical realism makes it more deranged. We also talk about Smith’s Oscar-chasing dramatic roles pre-slap, Ann Dowd as a felony committing private investigator, and the previous talent attached to this buzzy but ill-begotten project.

Topics also include Winslet joining our 6 Timers Club, Rogue One, and our Best Of ballots for the last year of the show!

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296 – Take Shelter

We return this week to one of the Oscar years we bemoan the most, 2011, to talk about Jeff Nichols’ Take Shelter. After Michael Shannon landed a surprise acting nomination for Revolutionary Road, it seemed he’d somewhat cornered the market on onscreen psychosis. In this film, he plays a rural father who begins to see apocalyptic visions that may or may not be coming to fruition. As his wife, Jessica Chastain would make her debut when the film premiered to Sundance audiences, already amassing a reputation as the next big thing due to the several films she had coming, including Terrence Malick’s The Tree of Life.

This episode, we talk about Shannon’s onscreen persona and how it may shade our perceptions of this film. We also talk about how The Help became the film that Chastain was Oscar nominated for in her breakthrough year, Kathy Baker in Edward Scissorhands, and the film’s divisive ending.

Topics also include Sundance 2011 movies, the Death Becomes Her musical, and cozy culture during the apocalypse.

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292 – New York, New York (with Katey Rich) (70s Spectacular – 1977)

The 1977 Oscar year is famously when Annie Hall triumphed over the cultural behemoth of Star Wars, but elsewhere Martin Scorsese followed up his Taxi Driver Best Picture nomination with a big swing and a miss. The Ankler’s Katey Rich is back on the show to discuss New York, New York, Scorsese’s attempt at a movie musical. Starring then-recent Oscar winners Liza Minnelli and Robert DeNiro as two post-WWII lovers whose creative ambitions clash with their relationship, the film received a critical drubbing for its pointed attempts at pastiche and its meandering length, and remains one of Scorsese’s least seen and discussed films.

This episode, we get into what does and doesn’t work in the film and how it gave us its indelible title track, later made infamous by Frank Sinatra. We also talk about the film’s tangled behind-the-scenes relationship to Star Wars, the music branch snubbing Saturday Night Fever, and the surprising lack of current availability for 1970s films.

Topics also include Vanessa Redgrave’s notorious Oscar speech, Al Pacino’s …And Justice for All hair, and Tell Me That You Love Me, Junie Moon.

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290 – The Front Page (with Roxana Hadadi) (70s Spectacular – 1974)

1974 brings us to one of the final films of Billy Wilder, which also reunited a screen duo beloved by both Oscar and audiences, Jack Lemmon and Walter Matthau. Vulture writer Roxana Hadadi is back to the show to talk about The Front Page, an oft-adapted farce about newspapermen getting wrapped up in the case of an escaped convict. Most famously retold in a gender swapped version in His Girl Friday, this version stumbles to deliver the best of this director-star trio and missed Oscar’s good graces despite multiple nominations in the decade for Mathau and Lemmon, including Lemmon’s win the previous year.

This episode, we talk about the victory lap made by Francis Ford Coppola with The Godfather Part II and The Conversation both earning Oscar love. We also talk about the film’s apoliticism was atypical of the moment, our love for Ingrid Bergman’s Supporting Actress speech, and the hubbub over the acceptance speech for Best Documentary Feature Hearts and Minds.

Topics also include disaster movies becoming the splashy Hollywood product, The Godfather Part II Supporting Actor nominations, and Anderson Cooper talking about his mom hooking up with Marlon Brando.

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287 – Harold and Maude (with Katie Walsh) (70s Spectacular – 1971)

The 70s Spectacular continues with critic and podcaster Katie Walsh joining us to discuss 1971 and Hal Ashby. After making his directorial debut with The Landlord after a career as an editor (including an Oscar win for In the Heat of the Night), Ashby returned to the director’s chair for what might be the film that became his signature. Harold and Maude cast recent comedy breakthrough Bud Cort as a death-obsessed, disaffected youth who falls for a free spirit who just so happens to be 60 years older, played by recent Oscar winner Ruth Gordon.

This episode, we talk about Ashby’s prolific career in the 1970s, where Harold and Maude would be his only film without Oscar nominations. We also talk about Gordon’s three screenwriting Oscar nominations with her partner, Vivian Pickles’ underpraised performance as Harold’s mother, and the musical contributions of Cat Stevens.

Topics also include T-Mobile ads, the secret hotness of Norma Rae, and Charlie Chaplin’s honorary Oscar win.

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