Tag: Best Actor

390 – Les Miserables (1998)

We’re back after our May Miniseries and it’s Tonys week! Rather than a musical, we’re talking about a movie that disappointed in part because it wasn’t a big screen version of the Broadway smash… In 1998, director Bille August brought a condensed version of Victor Hugo’s Les Miserables to the screen. With Liam Neeson headlining as the legendary man imprisoned for stealing a loaf of bread, Jean Valjean, the film is a hyper focused version of Hugo’s sprawl that is nevertheless a droning bore.

This episode, we talk about August’s two Palme d’Or wins and what this story loses by focusing so closely on only the Valjean/Javert storyline. We also talk about Neeson’s period between his sole Oscar nomination and becoming an action star, Geoffrey Rush cementing his typecast here, and Uma Thurman back-to-back misfires in Batman and Robin and The Avengers.

Topics also include this year’s Cannes, Shine as forgotten Oscar winner, and Claire Danes backbackback again.

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383 – Joker: Folie à Deux

Continuing our Oscar hangover tradition, we’re cracking the seal on the previous Oscar season’s lineup and have we got a doozy of a Class of 2024 title for you! After Joker walked away from the 2019 season with a Golden Lion and an Oscar for Joaquin Phoenix, souring opinions kicked into high gear when follow-up Joker: Folie à Deux was announced. Yes, the sequel would not only be a musical but it would star Lady Gaga as Harley Quinn, and the results were an immediate critical and box office bomb.

This episode, we talk about director Todd Phillips’ middle-finger approach to this sequel and why the original film works against making his case for genre divergence here. We also discuss Phoenix facing the heat for backing out on Todd Haynes, the film’s non-canonical take on the characters, and its off-putting musical stylings.

Topics also include the 2024 Venice Film Festival, The Bride!, and Connor Storrie’s small role in the finale.

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382 – Get Low

We keep losing movie legends, but this week we wanted to memorialize the great Robert Duvall. In 2010, the actor entered the race with Get Low, a tale (based on regional legend) of a town outcast who decides to throw his own funeral. With Bill Murray, Sissy Spacek, and Lucas Black filling out the ensemble, the film is a forgiveness and guilt fable that has its humble charms, but ultimately was unable to net the career honors for Duvall that would come a few years later with (eek) The Judge.

This episode, we talk about Duvall’s Oscar history and his place in some of the most important films of the 1970s. We also discuss Spacek’s post-2000s run of brilliant supporting turns, hostile Today Show appearances, and Sony Classics many 2010 Oscar nominees.

Topics also include Murray Six Timers, video games, and the 2010 Best Actor race.

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378 – Being Flynn

Is the “buzzy literary adaptation to Oscar bonafide” pipeline kaput? This week, we’ve got a forgotten, pre-production-buzzy title on deck: 2012’s Being Flynn! Based on Nick Flynn’s memoir Another Bullshit Night in Suck City, the film follows Paul Dano as the author grappling with addiction, grief, and an absent, addict father played by Robert De Niro. While critics praised De Niro’s work as a return to form, the film quickly died at the box office without strong reviews or the noise of a festival launch.

This episode, we talk about De Niro’s eventual Silver Linings Playbook nomination in the same year and his connection to the film’s director Paul Weitz. We also discuss post-Little Miss Sunshine Dano, Julianne Moore gets the rare Ten Timers Club, and the film’s Weitz-ian approach to heavier material.

Topics also include early aughts icon Olivia Thirlby, the film’s title downgrade, and Judd Hirsch’s The Fablemansnomination.

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377 – The Iron Claw (w/ Roxana Hadadi!)

After our Class of 2025 episode last week, we’re doing one of the most requested from the Class of 2023! After his COVID-stunted release (and beloved THOB title) The Nest, Sean Durkin’s next film would be the true and tragic story of the Von Erich wrestling family. With Zac Efron headlining the film as Kevin Von Erich, The Iron Claw compassionately details the family’s legacy of loss and became one of A24’s biggest hits. Naturally, we had to bring Vulture critic Roxana Hadadi back on to help us unpack this story of masculinity, brotherhood, and grief.

This episode, we talk about how A24 skipped the festivals for the film and made it one of the final films seen that season. We also discuss the film’s secret powerhouse Holt McCallany as the Von Erich patriarch, Harris Dickinson and Jeremy Allen White taking different position in the modern hunk hierarchy, and Durkin’s underloved work on Dead Ringers.

Topics also include reality television, The Smashing Machine, and giant onscreen breakfast.

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Class of 2025

It’s the biggest This Had Oscar Buzz episode every year! Now that we have this year’s crop of Oscar nominations, that means it’s time to welcome a whole year’s worth of films to the THOB fold. We unpack the Class of 2025 in all its glory, from the films that deserved better to the ones that didn’t, from the narratives we fell for and didn’t, from the most forgotten to the close calls. And, of course, we call it for the Valedictorian, the film that will get the first THOB episode from 2025.

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375 – My Own Private Idaho

We’re finally pulling one of our most passionate entries to our 100 Snubs series, Gus Van Sant’s My Own Private Idaho. Adapted loosely from multiple Shakespeare plays (particularly both Henry IVs), the film follows an epileptic young sex worker named Mike (River Phoenix) as he drifts the globe with his loyal cohort Scott (Keanu Reeves). Van Sant was post-Drugstore Cowboy ascendant when the film arrived, but it’s the Venice Film Festival-anointed performance by Phoenix that got the most attention and helps the film live in bittersweet infamy.

This episode, we talk about Phoenix’s stunning performance and his Oscar nomination for Running on Empty before his tragic death. We also discuss the highlights of Van Sant’s filmography, the unfair ridicule that greeted Reeves’ Bram Stoker’s Dracula performance, and where we would place the film in the 1991 Adapted Screenplay race.

Topics also include the 1991 Venice Film Festival, nipple pulling, and New Queer Cinema.

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373 – Uncut Gems (w/ Chris Rosen!)

With Marty Supreme in theatres, we thought it was perfect timing to talk about the Safdies and the gems. And we’ve finally brought in The Ankler’s Chris Rosen to join us! In 2019, the ascendant Josh and Benny Safdie brought us Uncut Gems, an anxiety-inducing comic thriller set in New York City’s Diamond District and hinging on the hubris of dealer Howard Ratner. Howie is played to the gonzo hilt by Adam Sandler, who earned “Oscar for Sandman!” raves, but the film’s strangeness likely kept it out of the Oscar fold.

This episode, we talk about the wild world of the film and Sandler’s full-tilt performance. We also discuss how the 2019 Best Actor race was primed to leave Sandler on the outside, the film’s narrative symmetry to Marty Supreme, and where both Brothers Safdie’s films stand in this year’s race.

Topics also include Billy Crystal hosting, Sandler’s chances for this year’s Jay Kelly, and sports podcasting.

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371 – The Founder

This week, we got one of the most requested episodes finally on the feed. In 2016, Michael Keaton had already had two comeback seasons on the Oscar trail with both Birdman and Spotlight. Neither earned him Oscar gold but our sights were on The Founder, a retelling of the story of McDonalds and the man the made it into American ubiquity. But released in the end days of the Weinstein Company, the film lingered in a purgatory of a qualifying release and never found a spot in a season dominated by Moonlight and La La Land.

This episode, we talk about the return of Keaton after a time away from major movies and his streak in the 1990s. We also talk about Laura Dern in an underserved wife role, another film by John Lee Hancock that better balances its biographical subject, and Nick Offerman and John Carroll Lynch playing brothers.

Topics also include the AARP Movies for Grownups Awards, qualifying release strategies, and Hot Ice Cream.

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369 – i’m thinking of ending things

This week, we are talking about Charlie Kaufman in the director’s chair and how our thoughts have settled on what’s probably his most divisive film. In 2020, Kaufman returned to directing by adapting Iain Reid’s psychologically intense i’m thinking of ending things, told from the perspective of an unnamed woman visiting her new boyfriend’s rural home. With Jessie Buckley and Jesse Plemons at the forefront, the film folds in on itself for daring look at male dissociation.

This episode, we talk about our shifting thoughts on the film and the pricklier reception to Kaufman’s directorial efforts vs. his screenwriting credits. We also talk about Buckley’s swift rise after Wild Rose, Plemons’ television credits, and the film’s use of Pauline Kael.

Topics also include hot Oklahoma!, media consumption, and Toni Collette gets her Six Timers.

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