movies – Page 7 – This Had Oscar Buzz

262 – Inside Man

We return to the filmography of Spike Lee this week with his biggest box office success, 2006’s Inside Man. With a star-packed cast led by Denzel Washington as a hostage negotiator, Clive Owen as the bank robber opposite him, and Jodie Foster as a nefarious fixer, Lee took a standard crime thriller and made it his own to instantly rewatchable results. While the film generated the kind of “you know what was a good movie? Inside Man!” year-end critical reassessment we often talk about, it wasn’t enough to result in the snowball effect that leads to Oscar nominations.

This episode, we talk about how Lee elevates the film with his stylistic trademarks and the film’s twinship with 2006’s Best Picture winner The Departed. Topics also include Foster’s return this season with Nyad, Owen’s post-Oscar nomination slump, and Universal’s 2006 Oscar slate of The Good Shepherd and Children of Men.

Topics also include Washington’s aughts Tony Scott collaborations, whatever the hell is going on over at Gladiator 2, and the Streep/Gummer split.

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261 – Hereditary

Happy Halloween, listeners! Naturally, this week we are returning to the shallow well of horror films that made it into the Oscar hunt with a recent highly debated and lauded terrifier. In 2018, Ari Aster made his feature debut at Sundance with Hereditary, the story of a family invaded from within by a demon worshipping cult. Aster’s bizarre vision quickly earned the film a reputation as one of the scariest ever made, but Toni Collette’s performance as a terrified and grieving mother received some career-best notices and feverish hopes that she could crack the Best Actress lineup. As you might expect, Hereditary was simply too much for the Academy.

This episode, we talk about everything that makes the film so divisive and Ari Aster’s whole thing. We also talk about Collette’s career and our favorites in her filmography, the rise of character actress Ann Dowd, and what makes the conversation around “elevated horror” so frustrating.

Topics also include putting the Saturn Awards on notice, coin parties, and the Gotham Awards.

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260 – The Deep Blue Sea

A few weeks ago, we lost the great and greatly undervalued filmmaker Terence Davies, who listened have heard our love of on our previous episode for The House of Mirth. In 2011, Davies adapted the play The Deep Blue Sea for the screen, with Rachel Weisz taking the role of a post-WWII married woman devastated by a failed affair with a veteran pilot, played by Tom Hiddleston. The film launched at TIFF but didn’t hit US screens until the following year, with Weisz an outsider contender in Best Actress with a NYFCC win and a surprise Golden Globe nomination.

This week, we talk about Davies’ heartbreaking passing and his career that culminated with Benediction. We also talk about Weisz’ career and Best Supporting Actress win for The Constant Gardener, Hiddleston’s breakthrough year in 2011 including Thor, and Simon Russell Beale’s tender performance as Weisz’ husband.

Topics also include what a cockle is, NYFCC’s other Best Actress choices, and the under appreciation of this year’s Dead Ringers limited series.

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259 – Ammonite (with Christina Tucker!)

After Francis Lee’s celebrated queer debut God’s Own Country, the director leveled up with another gay romance Ammonite, this time with Oscar-pedigreed stars. Kate Winslet stars as 19th century paleontologist Mary Anning opposite Saoirse Ronan as Charlotte Murchison; the two develop a seaside romance of opposites between the gruff Anning and the unfulfilled Murchison. But Lee’s follow-up, (originally selected for Cannes) had the unlucky fortune to come out in 2020 amidst a climate unfriendly to a romance more reserved and quiet than expected.

This episode, we talk about the film’s unceremonious world premiere at the COVID-impacted Toronto International Film Festival and the film’s theatrical run. We also discuss 2017 comparison’s between God’s Own Country and Call Me By Your Name, Winslet’s performance on Mare of Easttown, and the minor controversy over the real woman’s unknown sexuality.

Topics also include Sam Levinson’s (hypothetical!) dungeon, emotional metaphor animals, and “Harold, they’re lesbians!”

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258 – Kill Bill – Vol. 2

Last week we celebrated the 20th anniversary of Kill Bill – Vol. 1, so naturally we had to bring you Vol. 2 this week! Six months after the release of the original (and its shafting at the Oscars), The Bride returned to finish her vengeance list and kill that Bill. Surprisingly, the finale earned stronger reviews and earned praise for David Carradine’s turn as the titular assassin. But even with Uma Thurman’s towering work coming into full focus at the story’s close, Vol. 2 marked one of the last times that Oscar would decide Tarantino wasn’t in their wheelhouse.

This episode, we look at how the two films differ and how some scenes may have played in one long film. We also talk about Daryl Hannah’s career, why we think the film received better reviews than its predecessor, and Beatrix Kiddo’s travel logistics.

Topics also include David Carradine’s position in the 2004 Supporting Actor race, Uma post-Bill, and the most recent Best Picture nominee we haven’t seen.

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257 – Kill Bill – Vol. 1

We’re here celebrating a 20th anniversary for a beloved film this week, listeners! After his longest break between movies to date, Quentin Tarantino delivered a samurai epic while trying to crack the script for another epic, Inglourious Basterds. That ultraviolent actioner, Kill Bill, would also reunite Tarantino with his Pulp Fiction star Uma Thurman, given a major showcase as an unnamed blood soaked bride bent on vengeance. But Tarantino made so much movie, it had to be split into two.

Vol. 1 arrived in 2003 and became a sizable hit, wild mild critical praise that didn’t quite know what to do with its non-stop violence, time-hopping structure, and incomplete narrative arc. This episode, we talk about Kill Bill – Vol. 1‘s excellent female ensemble, its triumph at the MTV Movie Awards, and the all-timer needle drop “Battle Without Honor or Humanity”.

Topics also include first experiencing the film’s cliffhanger, its strong performance at BAFTA, and early aughts trailer descriptions.

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256 – Burnt

This week, we’re bringing you an episode to make you yell “YA BURNT!” Back in 2015, Bradley Cooper was to headline an ensemble dreamed about an unruly addict chef trying to earn his third Michelin star. Switching from the anonymously titled Adam Jones to the equally anonymous Burnt, the film had already earned a little bit of punchline status before skipping the fall festival circuit and delivering a dud wide release. Despite Cooper’s rising star power and Academy pedigree, this one didn’t come close to the awards or audience embrace as 2014’s American Sniper.

This episode, we look back at a the rise of chef culture in pop culture at large from Top Chef to The Bear. We also talk about Alicia Vikander’s busy 2015 that led to an Oscar win, the film’s ludicrous but formulaic plotting by screenwriter Steven Knight, and the underwhelming cinematic output from director John Wells.

Topics also include Cooper’s upcoming Maestro, his Oscar nominations as a producer, and Serenity.

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255 – Win Win

Before Tom McCarthy would deliver an Oscar triumph with Spotlight (and a bomb with The Cobbler), his critically beloved films centering on everyday people culminated in Win Win. The film starred Paul Giamatti as a lawyer and wrestling coach who takes in the grandson of an elderly client, one who he has taken guardianship of solely to alleviate his family’s precarious financial situation. With a stellar ensemble including Amy Ryan and Melanie Lynskey, the film premiered at Sundance to strong reviews and earned screenplay mentions throughout the season ahead. But with distributor Fox Searchlight handling several bigger films, Win Win did not become McCarthy’s first Oscar nominee.

This episode, we look back at Giamatti’s notorious Oscar snub for Sideways and ahead to his chances this year with Alexander Payne reunion The Holdovers. We also discuss Ryan’s passionate and lovable performance, Spotlight‘s position in its Best Picture lineup, and Win Win‘s fellow nominees for Best Movie for Grownups.

Topics also include Melinda Doolittle on American Idol, Nina Arianda’s film roles, and McCarthy’s canned Game of Thrones pilot.

And remember to join us on This Had Oscar Buzz: Turbulent Brilliance over at patreon.com/thishadoscarbuzz!!

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254 – The Killing of a Sacred Deer

Some might call Yorgos Lanthimos’ Oscar ascent an unlikely one, given the oddness at the core of his films. But with the Foreign Language Feature nomination for the explicit Dogtooth and the Original Screenplay for The Lobster, the Greek auteur cemented his status in the Oscar club. A victory lap of sorts came with The Killing of a Sacred Deer in 2017, returning Lanthimos to Cannes competition with the pedigree of Colin Farrell and Nicole Kidman. But any expectation that the film might be another Academy affirmed oddity all but evaporated when Cannes audiences discovered a bloody and deeply strange (even for Lanthimos) modern fable about a father given an otherworldly, violent demand from a deceased patient’s son.

This episode, we talk about our anticipation for Lanthimos’ Poor Things this season and the elements that make this film so divisive. We also talk about Barry Keoghan’s brilliant breakthrough performance, Alicia Silverstone’s caramel tart, and the film career of character actor Bill Camp (new bet alert!).

Topics also include the now-defunct Executive Committee, Kidman smoking while gardening, and 2017 Cannes Film Festival.

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

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253 – Moby Dick (with Emily St. James!)

We’re going back further than ever before this episode and we’ve got writer/critic/author Emily St. James along for the ride! After a consecutive run as an Oscar favorite in the late 1940s to early 1950s, director John Huston gave us 1956’s Moby Dick, an adaptation of perhaps the greatest novel of all time and often seen as unadaptable. With Gregory Peck as Captain Ahab and a cameo performance by Orson Welles, the film earned Huston favor at the DGA Awards, but even with its (then) technical feats, the film did not continue Huston’s Oscar streak.

This episode, we talk about the impossible task of bringing Herman Melville’s novel to the screen and the perception of Peck as miscast. We also discuss the 1956 Oscars, Peck’s run as Academy president, and outrage over Home Alone‘s underwhelming Oscar nomination tally.

Topics also include the Grumpy Old Men blooper reel, Reba McEntire as Trish, and we also announce the return of Vulture’s Movies Fantasy League! Join the rest of the Garys with league name AllOfUsGarys!

And don’t forget to sign up for our Patreon, This Had Oscar Buzz: Turbulent Brilliance over at patreon.com/thishadoscarbuzz!!

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