156 – A Most Violent Year (with Kevin O’Keeffe)

“This was very disrespectful.” Once again, Kevin O’Keeffe joins us to talk about the one and only Jessica Chastain for A Most Violent Year. Starring an on-the-rise Oscar Isaac as an emerging entrepreneur in the 1980s trying to avoid crime in dirty business, the film chased Oscar after writer/director J.C. Chandor’s Original Screenplay nomination for his debut Margin Call. But the film’s closest shot at Oscar was the supporting performance by Chastain as Isaac’s wife with a secret or two, which earned her Critics Choice, Independent Spirit, and Golden Globe nominations. Though many predicted Chastain, a surprise nomination went to Laura Dern for Wild, and A Most Violent Year was left out in the Oscar cold.

This episode, we talk about the Oscar Isaac performances that deserved Oscar attention, including the year where the likes of he and Tom Hanks missed out on nominations. We also discuss genius cinematographer Bradford Young, the film’s Best Picture win with the National Board of Review, and just how many people actually watched Triple Frontier.

Topics also include the value of nail acting and coat acting, this current season of Drag Race All-Stars, and who might have been second place to Patricia Arquette in 2014.

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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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Joe: @joereid
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Jourdain: @jourdayen