biopics – This Had Oscar Buzz

251 – Love and Mercy (with Taylor Cole!)

Are you loving our new original intro music, listeners? We’re joined this week by its composer and our friend Taylor Cole to muse on the genre musical biopic with 2015’s Love and Mercy. The film follows different chapters of Brian Wilson’s life and mental wellness journey, with Paul Dano taking on Wilson’s life as he experimented with The Beach Boys’ sound and John Cusack as the later Wilson. After a debut at the 2014 TIFF, the film launched in the summer to positive reviews and a slew of precursor nominations for Dano. But much like the Academy voted with The Fablemans this past year, Dano was left out at the last moment.

This episode, we discuss how the film’s structure appropriately tells Wilson’s story while creatively twisting the standard biopic framework. We also discuss Elizabeth Banks’ performance headlining the later portions of the film, divisive feelings about Dano’s earlier performances, and 2015 Best Supporting Actor.

Topics also include Cusack strike tweeting, presenting Chicago to Social Studies class, and our relationships with the music of The Beach Boys.

Don’t forget to subscribe to our Patreon, This Had Oscar Buzz: Turbulent Brilliance, over at patreon.com/thishadoscarbuzz!!

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241 – Selena (with Luis Rendon!)

And we’re back! We hope you all enjoyed the 100 YEARS, 100… SNUBS! May miniseries, but regular episodes are returning and did we come back with a special one! The Mixed Reviews co-host and journalist Luis Rendon joins us to talk about one of the most beloved musical biopics of all time, 1997′s Selena. The film follows the rise and sudden tragic end of Tejano music legend Selena Quintanilla, and catapulted actress Jennifer Lopez in a major way. Lopez stayed in the conversation to earn a Best Actress in a Musical/Comedy nomination at the Globes, but the Oscars overlooked her now-treasured performance that is often remarked on for her ability to recreate the real life icon that she played.

This episode, we discuss the many phases on Jennifer Lopez’s career from her breakout in 1997 to her emergence into a music career and triumph at the Super Bowl Half Time Show with Shakira. We also discuss the massive casting search that landed her the role, the film as a tool of healing in the immediate aftermath of Selena’s murder, and the visual style of Tejano music videos brought to the film.

Topics also include the 1997 Best Actress race, the tradition of post-Drag Race on VH1 cinema, and character actress legend Lupe Ontiveros.

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178 – October Sky (with Esther Zuckerman)

Moving along from Maggie Gyllenhaal’s breakthrough last week, this week we are dis cussing her brother Jake’s! Senior Entertainment writer for Thrillist Esther Zuckerman joins us to talk about middle school classroom mainstay and union-agnostic true story, 1999′s October Sky. The film starred Jake Gyllenhaal as Homer Hickham Jr., as young West Virginian who bucked the pressure to join the mining industry to study rockets, leading to a career at NASA. With Laura Dern as his doting teacher and Chris Cooper as his gruff unsupportive father, the film was sold as a family film early in the year and gained some momentum before becoming ultimately forgotten by Oscar.

This episode, we look at Jake’s career evolutions from awkward love interest to older actresses to action to lovable weirdo and back to action star mode. We also discuss the career of director Joe Johnston, WGA nominees that were not nominated by the Academy, and Chris Cooper’s evolution from noteworthy character actor to noteworthy stern dad.

Topics also include, Universal’s 1999 awards slate and the Best Supporting Actor lineup that year, Peter Parker’s landlord, and Esther’s upcoming Oscar fashion history book Beyond the Best Dressed (Preorder HERE!).

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098 – Lee Daniels’ The Butler (with Jourdain Searles)

One year after giving us Nicole Kidman peeing on Zach Efron in The Paperboy, Lee Daniels delivered a late summer hit and Oscar hopeful with The Butler. Starring then-recent Best Actor winner Forrest Whitaker as Cecil Gaines, a White House butler to eight presidents, the film follows the arc of civil rights in America through the lens of one Black family. But it was the screen return of Oprah Winfrey that was the film’s closest brush with Oscar, and her work as Gloria Gaines remains an understated treasure.

This episode, we welcome back freelance writer and Bad Romance cohost Jourdain Searles to unpack the film’s high points as a family drama and shakier ground as a conveyor belt of cameos for famous people as presidents. We discuss the 2013 Supporting Actress contenders, and how the film’s Oscar chances were hindered three-fold: a summer release, a distributor that prioritized other films, and an Academy unwilling to consider multiple stories from Black filmmakers in one year.

Topics also include Yaya DaCosta, presidential movies, and the film’s sometimes effective, sometimes cringey makeup.

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094 – Diana (with Richard Lawson) (Naomi Watts – Part Three)

As our Naomi Watts miniseries continues into its third week, we come to the biggest misfire therein: 2013’s reviled biopic Diana. With Watts taking on titular role, the film follows Princess Diana in her final days and her thwarted romantic relationship with surgeon Hasnat Khan (played bby Naveen Andrews). But in an attempt to avoid the salacious of headlines, the film became a bland failure and received much-earned bad reviews when it opened.

Vanity Fair chief critic and Little Gold Men cohost Richard Lawson returns this week to talk about the actress’s path to a second Oscar nomination and how Diana quickly took the wind out of those sails. Yet another example of Watts working with the right director at the wrong time, the film also suffers from an ambivalent approach to its subject by director Oliver Hirschbiegel. On top of the film’s dullness, we discuss how some felt its very existence missed the point of Diana Spencer’s death.

Topics also include the film’s symmetry to Nicole Kidman vehicle Grace of Monaco, KT Tunstall song cues, and teenage psycho twinks.

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054 – J. Edgar

We’re taking a trip back this week to some of the darkest days in the “Get Leo an Oscar” saga: Clint Eastwood’s J. Edgar. The film starred Leonardo DiCaprio and detailed the many political exploits of J. Edgar Hoover and his efforts to stomp out communism. The actor would get close to a nomination (after showing up for the precursor triple crown of Globes, SAG, and Critics’ Choice) but this prestigious biopic was not meant to be for Leo and his eventual Oscar.

What didn’t help the film’s case were many unfortunate elements aside its anemic box office: a wishy-washy take on Hoover’s tyranny, DiCaprio sobbing in a muumuu, and most notoriously, its laughable old age makeup. This episode, we discuss Eastwood’s overly expeditious tendencies, screenwriter Dustin Lance Black, and the film as a turning point for supporting costar Armie Hammer.

And to spread some goodwill, this week we also discuss favorite performances from J. Edgar’s most cast-aside ensemble member: the one and only Naomi Watts.

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045 – Sylvia (2003 – Part Two)

We continue our month-long look at the 2003 Oscar year with what could be the poster child for bland biopics: Sylvia. Starring Gwyneth Paltrow as poet Sylvia Plath, the film paint-by-numbered its way to box office and critical failure that inappropriately obsessed over the artist’s untimely death rather than the impact of her work. A perfect on-paper prospect thanks to its famous subject and Paltrow’s recent Best Actress win, Sylvia was the 2003 failure that left us gooped.

This week, we take an extended look at 2003′s rather malleable Best Actress race and discuss the earliest predictions that ultimately fell through. We also discuss Focus Features’ slate being dominated by Lost in Translation, why Daniel Craig should never be allowed to play a brunette, and Paltrow’s greatest performance on a movie poster.

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016 – The Fifth Estate

If the past few weeks of movies we like had you weary, fear not for this episode we have a real stinker for you: 2013′s The Fifth Estate. This was the year that Benedict Cumberbatch was everywhere and nowhere, alone yet not alone. After the rise of Sherlock, this year saw him in four major movies including his biggest role in this film as Julian Assange, the controversial figure at the head of WikiLeaks.

This week we look at Cumberbatch’s expected Oscar rise and how The Fifth Estate quickly died when faced with competition from bigger and more beloved movies. Joe finds a perfect summation of the film through The Simpsons and Chris defends the oeuvre of Bill Condon. Other topics include Josh Singer’s oddball Wikipedia page, Daniel Bruhl’s near-miss Oscar nomination for Rush, and this film’s bizarre opening credits sequence.

But most exciting this episode: a first ever perfect score on The IMDb Game!

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010 – Hyde Park on Hudson

Lend us a hand and listen along as we discuss this week’s case of failed Oscar buzz: 2012’s Hyde Park on Hudson.

Opening with the burden of Bill Murray’s mounting Oscar hopes but in the shadow of The King’s Speech success handling a shared historical figure, Hyde Park on Hudson couldn’t charm its way into Oscar’s good graces. Even with Murray playing beloved American president FDR, this film couldn’t get past its odd business of picnic food and expositional handjobs.

This week we discuss another ephemeral awards season organization, director Roger Michell’s fascinating and underacknowledged career, and the beloved ensemble of actresses including Laura Linney and the Olivias Colman and Williams – not to mention Dr. Pinder-Schloss herself, Elizabeth Wilson.

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006 – 1492: Conquest of Paradise

Brace yourselves for some slow motion colonialism set to the dramatics of Vangelis – this week, we are discussing 1992′s Christopher Columbus epic 1492: Conquest of Paradise. With star Gerard Depardieu having a moment in American cinema and director Ridley Scott fresh off of his first nomination for Thelma and Louise, what could possibly go wrong?

Listen as Joe and Chris remember Sigourney Weaver’s costumes, trailer packages on VHS tapes, and how the film is the prototype for Ridley Scott’s slew of historical epics.

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