Best Actress – Page 4 – This Had Oscar Buzz

219 – Always

As The Fabelmans is welcomed into theatres and Spielberg nostalgia is about to come back into conversation, we naturally are here to talk about one of his least discussed films: 1989′s Always. Based on the 1943 Victor Fleming film A Guy Named Joe, Always follows an aerial firefighter played by Richard Dreyfuss who dies saving his friend (John Goodman) in a mission, only to watch from the afterlife as his lover (Holly Hunter) grieves and finds new romance. Spielberg was a big fan of the original, turning this into a bit of a passion project that nevertheless received middling box office and reviews before becoming one of his most forgotten films.

This episode, we talk about Spielberg’s twofer years and the Oscar success of the related films. We also discuss Hunter’s slew of projects immediately after her first nomination for Broadcast News (and our wish to see her in another Spielberg film), Spielberg losing Best Director nominations to other director legends, and the era of cigarette ads and The Marlboro Man.

Topics also include Goodman’s status as a nominationless actor, bickering over the current Bake Off season, and Audrey Hepburn as an afterlife greeter named Hap.

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218 – The Meddler (with Richard Lawson)

Vanity Fair’s chief critic Richard Lawson return to us this week to talk about a piece in a trend of films about aging women self-actualizing, Lorene Scafaria’s The Meddler. Starring Susan Sarandon as a widow ingratiating herself to her writer daughter (played by Rose Byrne) and her circle of friends, The Meddler provides a hilarious and heartwarming showcase for Sarandon, all told with uncommonly holistic observation by Scafaria. The film premiered at TIFF in 2015, earning deep affection from some critics like Richard and Joe, but was ultimately held until the following late spring, leaving an uphill climb in 2016′s stacked Best Actress race.

This episode, we talk about our love of the film and Richard’s placement of it at the top of his best films of 2016. We also talk about Scafaria’s depiction of her own mother, Byrne’s underrated brilliance within a varied career, and tense Apple store Q&As. And we’ve got an update on Vulture’s Movies Fantasy League!

Topics also include J.K. Simmons’ glorious mustache, old-baiting the AARP Movies for Grownup voters, and Joe’s personal paradise, The Grove.

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217 – Mary Reilly

Happy Halloween, Garys! Get ready for lots of whispers and accents as we close spooky season with one of our oft-referenced favorites, 1996′s uberflop Mary Reilly. A riff on the Dr. Jekyll and Mr. Hyde tale starring Julia Roberts as an Irish maid who falls for both personalities of the mad scientist, the film was a bodice-ripping reunion of several Dangerous Liaisons collaborators: director Stephen Frears, screenwriter Christopher Hampton, and star John Malkovich. Despite the high pedigree and pre-production high hopes that landed Roberts a massive payday, the movie was critically lambasted and bombed at the box office.

This episode, we discuss the Frears filmography and his service to the culture of directing prestige actress vehicles. We also discuss the 1990s prestige reiterations of classic monster movies, Glenn Close’s deliciously bawdy performance as a hothouse matron, and we loop back to Julia Roberts’ Six Timers Club quiz.

Topics also include Tammie Brown makeup, how Malkovich should have been nominated in 1999 for playing himself, and Two-ster.

PLUS we are kicking off this episode with a fun announcement: we are partnering with Vulture for the new Fantasy Movie League!! Join us at moviegame.vulture.com!

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215 – Beatriz at Dinner (with Jorge Molina)

On the eve of the return of The White Lotus, we’re taking a look at the Mike White oeuvre with returning guest Jorge Molina and 2017′s Beatriz at Dinner. Starring our beloved Salma Hayek as a holistic masseuse trapped at a toxic dinner party held by her wealthy clients, the film debuted at Sundance and was immediately viewed through the lens of our outrage and despair in the immediate aftermath of Trump’s election. The dark cringe comedy had a divisive finale but a brilliant ensemble including Connie Britton, John Lithgow, and Chloe Sevigny, with Hayek giving one of her finest performances. But the 2017 Best Actress race was highly competitive, and this summer release struggled to make an awards season comeback.

This episode, we talk about the Arteta/White partnership including White’s television output and Arteta as the quintessential journeyman director. Topics also include scrubbed John Early clips, our dreams for Hayek’s deserved awards future, and comparing Beatriz at Dinner to another 2017 film that succeeded with Oscar.

Topics also include the 2002 Best Actress nominees pitching grants, Mike White’s run on Survivor and The Amazing Race, and performing Salma in Snatch Game.

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213 – Where’d You Go, Bernadette

As Cate Blanchett inches towards a possible third acting Oscar with this week’s Tár, we look back at the quickly forgotten Where’d You Go, Bernadette. Based on the praised novel by Maria Semple about an eccentric former architect’s disappearance, the film paired Blanchett with director Richard Linklater (and reunited her with actor Billy Crudup, playing her husband) and faced numerous delays from distributor Annapurna despite its pedigree. Linklater streamlined the novel’s techno-epistolary structure, resulting in a more straightforward film that lost much of the novel’s unique comic tone and character insights. Though Blanchett would earn a Best Actress in a Musical or Comedy nomination at the Globes, the film was already long forgotten at that point of the season.

This episode, Blanchett joins our Six Timers Club and we talk about the barrier of entry to third acting Oscar wins. We also look at Crudup’s filmography and his shockingly paltry lack of awards love, Linklater as a director hard to pin down to a career narrative, and Annapurna’s bumpy and brief road from production company to distributor.

Topics also include “prepandemic” as a concept, Broadway actors telling stories at benefits, and Tyra interviewing Beyoncé.

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209 – A Walk on the Moon (with Tara Ariano)

This week, Tara Ariano returns to us to talk about a forgotten and quite lovely independent film from 1999, A Walk on the Moon. The first feature directed by actor Tony Goldwyn, the film stars Diane Lane as a late 1960s housewife who has a sexual awakening with a hippie blouse salesman (played by Viggo Mortensen) while vacationing with her family. With Anna Paquin and Liev Schreiber respectively as daughter and husband, the film features Woodstock and the moon landing in the background of this quite potent take on female sexuality and the effect of young parenthood. The film had a quiet spring release after debuting at Sundance, but year-end critical notices kept Lane in the awards conversation.

The film also has similar shades of what Lane would turn into an Oscar nominated role just a few years later with Unfaithful. This episode, we’ll discuss Mortensen’s deep bench of pre-LOTR roles, Happy, Texas’ famous post-Sundance financial failure, and how this film avoids the typical “Woodstock movie” trappings.

Topics also include Julie Kavner as Big Brother, gay euphemisms, and the immediate cultural impact of Ghost.

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203 – Martha Marcy May Marlene

One of the major stories out of 2011′s Sundance Film Festival was the arrival of Elizabeth Olsen, a new actress who just happened to be the younger sibling of the Olsen twins. In Sean Durkin’s debut Martha Marcy May Marlene, Olsen stars as a young woman who escapes a cult and copes with her fractured identity in the wary arms of her estranged older sister, played by Sarah Paulson. The film earned rave reviews, a Directing prize for Durkin, and distribution with Fox Searchlight. The film would be sold in the shadow of the previous year’s Oscar success Winter’s Bone: a Sundance launch, a star-making debut performance, and a chilling supporting performance from John Hawkes. But the film was significantly less audience friendly thriller by comparison, and paired with Searchlight’s stacked lineup of films, Martha didn’t fit the Oscar mold.

However, Martha Marcy May Marlene remains a movie we are still haunted by. This episode, we talk about the film and its associated network of stars and directors that would become Sundance staples. We also discuss the stiff competition faced by Olsen in the Best Actress race, Paulson’s career prior to becoming a Ryan Murphy staple, and Hawkes’ run of awards-buzzed roles in the early 2010s.

Topics also include our love of Durkin’s The Nest, thoughts on The Staircase, and ugly QR code posters.

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202 – Us

Few filmmaking ascents have been as exciting and heralded as Jordan Peele’s with the arrival of Get Out in 2017. After creating lasting cultural importance and winning the Best Original Screenplay Oscar, Peele’s follow-up was one of the most eagerly awaited films before it was even announced. And in early 2019, the follow-up would be Us, a sci-fi/horror film with American societal divides on its mind and a daring performance by Oscar winner Lupita Nyong’o at its center. The film was an equal box office success to Peele’s debut, though it received a less unanimous response in terms of how well he pulls off its metaphors. What kept the film in awards discussion was Nyong’o performance, including SAG and Critics’ Choice nominations, but missing out on the Oscar lineup.

This episode, we discuss our feverish anticipation of Jordan Peele’s upcoming Nope and unpack the layers of Us’ allegory. We also look at the brilliant and less recognized performances from Winston Duke and Elisabeth Moss, the 2017 Oscars where Get Out faced stiff competition, and the 2019 Best Actress race.

Topics also include supposed genre bias against other actresses, critics groups as awards influencers, and our 2019 Best Actress ballots.

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200 – Gloria Bell

We’ve made it to 200 episodes! And as long-time listeners are aware, there are few THOB-eligible films as beloved as Gloria Bell. In 2013, Sebastián Lelio delivered Gloria, a delightful Chilean character study of the everyday life of a single woman entering middle age played by an incandescent Paulina García. When Julianne Moore approached Lelio about an American remake, the director decided to take over the reigns himself, remaking his own movie. The resulting Gloria Bell launched at 2018 TIFF, receiving good reviews and getting picked up by A24, leading some to see a potential Globes Comedy player. But A24 held the film until the spring, and it got lost among their already stacked awards slate.

This episode, we look back Lelio’s trifecta of films in 2017-2018, which would include an International Feature Oscar win for A Fantastic Woman and the underrated Disobedience. We also talk both Glorias perfect endings, recall our first formative friendship viewing of the film, and celebrate the 200 episode milestone with our annual look back at the past year of THOB.

Topics also include Jeanne Tripplehorn’s vape, the film’s joyous soundtrack, and (stick around after the IMDb Game) a post-credits quiz about our past post-credits song outros.

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198 – Divine Secrets of the Ya-Ya Sisterhood (with Christina Tucker)

YA-YA!! This week, Christina Tucker joins us once again to discuss popular literary adaptation and TNT staple, 2002′s Divine Secrets of the Ya-Ya Sisterhood. The directorial debut of Callie Khouri, the Oscar-winning screenwriter of Thelma and Louise, the film stars Ellen Burstyn and Sandra Bullock as mother and daughter feuding over the playwright daughter’s very public interview about her very tempestuous childhood. The mother’s friends (played by Maggie Smith, Fionnula Flanagan, and Shirley Knight) then kidnap the daughter and return her to her southern home to reveal her mother’s side of the story. This made for a film of wildly conflicting tones, which critics roundly lambasted before the film became a summer disappointment.

This episode, we discuss the early 2000s for Bullock in star mode before her Oscar win and Ellen Burstyn in an unhinged mother era after her return Oscar nomination for Requiem for a Dream. We also discuss the remarkable performance by Ashley Judd as the young Burstyn, pride season, and the late career of James Garner.

Topics also include devastating Lisa Schwartzbaum pull quotes, TV’s Nashville, and the Mad Money poster.

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