movies – Page 31 – This Had Oscar Buzz

024 – Anywhere But Here

This week’s episode is a tale of two actresses at the opposite ends of their respective Oscar stories: 1999′s Anywhere But Here, with Natalie Portman’s kicking off her Oscar trajectory and Susan Surandon struggling to get the nomination that has eluded her since her win for Dead Man Walking. This is a mother-daughter film stooped in mid-90s adult contemporary songs and cozy cliches, so naturally we kind of loved it – even if Oscar forgot it.

This week we look at the career of director Wayne Wang, including showering some love on his other (also Oscar ignored) mother-daughter saga The Joy Luck Club. Also discussed: the much beloved film year that was 1999, what happens after Overdue Oscars, and a full dive into Fumbling Toward Ecstasy era Sarah McLachlan.

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022 – Cake

2014 was a year of mirrored Best Actress hopefuls launched at the Toronto International Film Festival: out of nowhere, Julianne Moore capitalized on a “weak” field and finally won for Still Alice. And then, ultimately snubbed on nomination morning after being recognized by the other big prizes, there was Jennifer Aniston in Cake.

Notorious among Oscar watchers, Cake stars Aniston as a woman dealing with grief and chronic pain, and felt like a dubious candidate from the beginning. Was it the bad reviews, or was it the public’s sometimes cruel consideration of Aniston’s film career, or was it “Anna Kendrick as imaginary friend on a pool inflatable nudging her into suicide” that spelled disaster? Regardless, Aniston’s snub was perhaps the year’s least shocking “most shocking” missed nomination.

This week, we get into 2014′s bench of great, but less Oscar-friendly lead female performances, the mythos of Aniston, and detour into Gaga Five Foot Two.

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021 – Tadpole

The Sundance Film Festival is an elusive mistress that giveth Oscar buzz only to taketh away when at lower altitudes. Case in point is this week’s would-be Oscar title: 2002′s Tadpole. The film was a sensation of the festival, winning a Best Director prize for Gary Winick and stirring buzz for newcomer Aaron Stanford and Bebe Neuwirth. But the newfangled digital technology that won praise at the festival for all the new filmmaking possibility it represented ended up looking amateurish and garish upon release.

Tadpole ultimately got lost in a slew of 2002′s rich boy movies and disappointed on release after Miramax’s big $6M acquisition. This riff on The Graduate by way of Voltaire quotes may have been lost to time, but for a minute, it was kind of A Thing. This week, we’re also talking about the distinctions between regular Oscar buzz and Sundance Oscar buzz, the Meryl Streepness of The Hours vs. the Nicole Kidmanness of The Hours, and the National Board of Review’s “prize as party invitation” special recognitions.

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020 – Secretariat

After landing a Best Actress nomination in a great Best Actress year for Unfaithful, we once thought Diane Lane could come back to the Oscar race by going to a horse race. This week, we’re talking about Secretariat, a live-action Disney biopic that got buried in the wake of The Social Network. Get ready for a dive into the 2010 Oscar nominations, including a strong defense of its Best Picture lineup. And we obsess over the real reason to watch the movie, even though it does her dirty: the eternal Margo Martindale.

Join us as Joe explains horse racing awards hierarchy, Chris has an Oscar host hot take to end all Oscar host hot takes, and we unpack the cornucopia of the film’s rich white people problems. Come for the remembered Oscar buzz, stay for the elevator stories! Oh and we try and fail to not call this movie Seabiscuit.

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019 – Hannibal

Happy Halloween, listeners! This week, we’re getting creepy with Ridley Scott’s follow-up to Best Picture winner Gladiator, the gross-out macabre sequel Hannibal. The legacy of The Silence of the Lambs made this one of the most heavily covered productions of the early 2000s and convinced that it might be similarly bound for Oscar glory. Maybe someone was just feeding us our brains.

With Jodie Foster out as Clarice Starling as well as Jonathan Demme passing off directing duties, Scott was chasing every actress in Hollywood that was also among the Academy’s favorites. Also on our mind’s this episode: producer Dino De Laurentiis, how the film (wisely) nixed its more problematic elements, and its terrifying makeup. Also Anthony Hopkins talking about poppers.

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018 – Sommersby

It’s time for some failed harlequin romance Oscar buzz and that means we are talking 1993′s Sommersby. A post-Civil War era love story of overtaken identity and languorous beard shaving, the presence of a post-Silence of the Lambs Jodie Foster had us thinking this weepy could be Oscar-bound. But as the dueling elements of Richard Gere’s non-accent and Foster’s scream-whisper will attest, we were so wrong.

As if the gaslighting by oil lamp wasn’t enough to warn us, the movie is fairly cringeworthy in its plot mechanics and ripping off of the third act of The Crucible. We get into Sommersby’s mishaps this episode as well as Gere’s Oscar shutout vs. Foster as one of Oscar’s golden children, making out while protecting expensive seeds, and the Great Cuckold of 1993, Bill Pullman. We never loved not this movie as much as we loved this movie.

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017 – Seven Pounds

Cuddle up to your jellyfish, because this week’s we’re talking about Seven Pounds. Just two years after being nominated for The Pursuit of Happyness, we thought that Will Smith’s reteaming with director Gabriele Muccino could maybe bring the Oscar that has eluded him since first being nominated for Ali. But that was before we realized what this movie actually was, let alone how painfully bad it is.

Scattered among the sacrificial flesh of the film’s thwarted Oscar dreams, we discuss Will Smith’s Oscar trajectory, Rosario Dawson’s underrated career, and the many ways this bonkers movie grinds our gears. We also take a look at 2008’s whirlwind tour to Kate Winslet’s Best Actress win and the full insanity and ramifications of how the film withholds its twist. And of course, we don’t forget to notice the collateral beauty around us.

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015 – Get Shorty

For a short time in the 90s, Elmore Leonard was an Oscar thing and post-Pulp Fiction John Travolta being due was also an Oscar thing. Both of those may sound confounding in today’s era of Gotti and an unwatched series on Epix, but this week’s film brings both of those statements together to prove them true: Barry Sonnenfeld’s 1995 comedy Get Shorty.

And guess what? We kinda really like this one.

Topics include the short-lived splitting of the Original Score category into Drama and Musical/Comedy, the early days of IMDb, and our love for the undersung Rene Russo. This episode also finds Joe revealing his secrets on remembering film years and Chris delivering his “Blythe Danner in To Wong Foo” impression.

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014 – The Door in the Floor

This week’s episode is the sound of something trying to not make a sound. It’s our first failed Oscar buzz movie that we genuinely love and it’s 2004’s The Door in the Floor. Adapted from the first segment of John Irving’s A Widow for One Year, this film stars Jeff Bridges as a grieving novelist, Kim Basinger as his estranged wife, and Jon Foster as the young student spending the summer between them.

The Door in the Floor also introduced us to Elle Fanning and gave us what might be the best adaptation of Irving’s work. The film feels like a crucial stop on the path to Bridges’ eventual Oscar for Crazy Heart, and is best remembered for his performance. Or maybe, it’s just his muumuu caftan. Listen along as we obsess over the lore of Focus Features, gush over its underappreciated and oft-repurposed score, and gasp over the film’s cameo from a beloved Tony winner.

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TIFF ’18 BONUS – We’re Far From the Scotia Now

We’re taking a break from our usual dives into thwarted Oscar buzz this week and taking a look at all the films we saw at the Toronto International Film Festival! Not only are Joe and Chris in the same room for once, but we also have our very first guests: The Film Experience’s Nathaniel Rogers and Film Comment’s Nick Davis!

Though none of us saw the eventual winner of that bellwether of Oscar buzz, Grolsch People’s Choice Award, Green Book (from Osmosis Jones director Peter Farrelly), we still have lots to discuss regarding Oscar and festival ephemera. Listen along as the four of us dive off the deep end to talk our favorites of the festival, our disappointments, and what at the festival we think will lose Oscar steam. Topics include: the ubiquitous love for A Star is Born, Juliette Binoche’s High Life sex braid, and a stacked Foreign Language field led by Alfonso Cuarón’s Roma.

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