movies – Page 8 – This Had Oscar Buzz

252 – Film Stars Don’t Die in Liverpool

Ahead of this season’s Nyad, we are looking back at the Oscar history of Annette Bening and 2017’s Film Stars Don’t Die in Liverpool. One year after missing out on a nomination for 20th Century Women, Bening returned with this film, starring as actress Gloria Grahame . Told from the perspective of actor Peter Turner (played by Jamie Bell), the film tells a love story between Turner and the Oscar winner during her final days. The film received a mild festival response and limited release during New Years, with Bening and Bell getting BAFTA nominations, but no such love from Oscar.

This episode, we talk about Bening’s four previous Oscar nominations and her notorious dual losses to Hilary Swank. We also discuss actresses who have played Oscar winners, Grahame’s Oscar win for The Bad and the Beautiful, and that other Sony Pictures Classics film from 2017 that took its time to expand.

Topics also include Bell’s leading man charisma, Bening’s potential for Nyad, and the many PG-13 f*cks of The American President.

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

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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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250 – Her Smell

We’ve come up on another anniversary episode of This Had Oscar Buzz, and we’ve got another favorite that long-time listeners have heard us praise before: 2019’s Her Smell. Debuting on at TIFF 2018, the Alex Ross Perry film is a daring and ambitious take on the riot grrrls of the early 1990s. Starring Elisabeth Moss as Becky Something, an addict egomaniac who brings her own downfall, the film audaciously immerses us in Becky’s destruction (and later climb out of it) in ways that are exhausting and rewarding. Earning stratospheric praise for Moss by even the film’s most frustrated viewers, the film was cursed to a microrelease and stayed an Oscar outsider despite vocal critical support.

This episode, we talk about the audacity of both Perry’s film and Moss’ performance. We also get into the depressing state of independent distribution, Perry’s open comments regarding its release and support for Moss’ performance, and the Gotham Awards.

Topics also include the film’s fake album covers, our appreciation for difficult characters, and our superlatives for the past year of the podcast.

But perhaps most exciting is two bits of news right at the top: our new theme music by Taylor Cole and our newly launched Patreon!! Please consider subscribing and joining us for This Had Oscar Buzz: Turbulent Brilliance over at patreon.com/thishadoscarbuzz!!

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249 – Love is Strange

Ahead of this week’s release of Ira Sachs’ Passages, we’re discussing perhaps Sachs’ most lauded film, 2014’s Love is Strange. The film stars John Lithgow and Alfred Molina as a newly married couple forced to live apart in New York City when one of them is fired from his Catholic school job for being gay. Charting the frustrating nuances of cohabitation and the unexamined financial hardships of city life, the film is a quiet wonder filled with humane performances, including Marisa Tomei as part of the couple’s social circle. Praised at Sundance and in its late summer release, the film managed to stay in conversation due to several Independent Spirit nominations, but was shut out by Oscar.

This episode, we discuss Sachs’ underappreciated filmography and Molina’s career rise as a trustworthy supporting player. We also discuss Lithgow’s consecutive Supporting Actor nominations in the 1980s, the film’s release in the year before the Obergefell ruling, and Sony Pictures Classics’ busy 2014.

Topics also include Best Grownup Love Story, the 2014 Sundance Film Festival, and Asteroid City.

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248 – Mrs. Parker and the Vicious Circle (with Jourdain Searles!)

We are returning to the work of Jennifer Jason Leigh this week, and Jourdain Searles is joining us once again with an underrated and underseen gem. Mrs. Parker and the Vicious Circle takes on the life of indelible writer Dorothy Parker, capturing her days with the insular Algonquin Circle and her later dissolution with the group, all with Jennifer Jason Leigh as the noted wit. Launched at Cannes, the film was celebrated for her performance even with a limited audience, including Golden Globe and Independent Spirit nominations for Best Actress. But even in a famously uncompetitive Best Actress lineup, Leigh was left out.

This episode, we talk about Leigh’s several close calls for a nomination in the 1990s and our feelings about the nomination that she eventually received for The Hateful Eight. We also talk about Pulp Fiction‘s domination on the independent film scene, the Cannes Film Festival, and the influence of producer Robert Altman.

Topics also include writer/director Alan Rudolph’s filmography, the film’s massive (and nepotism baby-inflected) ensemble, and the person-not-company Condé Nast.

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247 – Breakfast on Pluto

The cementing of Cillian Murphy as a major actor has been a long time in the making, possibly coming to fruition this weekend with the release of Oppenheimer. Audiences likely most know the actor for his starring role in Peaky Blinders, but his cinematic arrival began in the early 2000s with films like 28 Days Later. However, 2005 gave us a Cillian Murphy three-peat with Batman Begins, Red Eye, and this week’s film Breakfast on Pluto. With Murphy starring as a transwoman reconciling her family history in Ireland and Britain during the 1960s and 1970s, the Neil Jordan film ran the fall festival gamut and earned strong notices for Murphy (if not the film). But Murphy faced a stacked 2005 Best Actor lineup and this smaller queer film was left in the cold.

This episode, we talk about the film’s relationship to Jordan’s Oscar success The Crying Game and the director’s wide-ranging filmography. We also talk about Murphy’s career ascent as somewhere between character actor and leading man, the film’s dated presentation of queerness, and Murphy’s Golden Globe nomination.

Topics also include our Barbenheimer plans, The Borgias, and hating David Zaslav.

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246 – First Cow

Though this episode brings talk of the gloom of covid lockdown, we still get to talk about one of our favorite films of the last several years. The story of two men who become friends in the harshness of the 19th century Pacific Northwest and start a business by stealing the milk of the area’s only cow, Kelly Reichardt’s First Cow is a delicate study of American capitalism from one of the most under-rewarded filmmakers working today. The film’s modesty (a Reichardt specialty) might have kept it away from awards talk had it not been one of the last films released prior to covid lockdowns. Though the lack of released films that year and a Best Picture win with New York critics helped keep the film in conversation, First Cow and Reichardt remained on the outside of the Academy’s tastes.

This episode, we talk about Reichardt’s filmography and the film’s long festival run ahead of its thwarted theatrical release. We also talk about the performances of John Magaro and Orion Lee, A24 putting all of its 2020 Oscar energy towards (the also great) Minari, and retired bovine actress Evie the cow.

Topics also include the Academy ratio, cow puns, and the Gotham awards.

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245 – Dolores Claiborne (with Louis Peitzman!)

In the small hall of Oscar-endorsed horror films, the centerpiece must be Kathy Bates brilliant and terrifying win for Best Actress in Misery. A few years after that win, Bates returned to Stephen King territory (though you can debate how much of a horror story it is) with Dolores Claiborne, the mystery of whether or not a woman killed not only her wealthy employer, but her husband decades prior. With Jennifer Jason Leigh as Bates’ estranged daughter and director Taylor Hackford at the helm, the film couldn’t return to that other King film’s Oscar anointing but endures as an intense melodrama and one of the best King adaptations.

This week, writer Louis Peitzman join us to unpack the history of King adaptations and each of our history with King’s work. We also discuss supporting player Judy Parfitt’s exquisite line readings, the differing takes on The Shining delivered by King and Stanley Kubrick, and this story’s connection to Gerald’s Game.

Topics also include the many 1995 Best Actress outsiders, Bates’ pre-Oscar theatre career, and Dead Like Me.

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244 – Everything is Illuminated

In the early aughts, Jonathan Safran Foer’s Everything Is Illuminated was an inescapable book, launching the young author’s career (and more than a few skeptics). Naturally, the film adaptation came along, though with the unexpected pedigree of cherished actor Liev Schreiber making his director debut. Starring Elijah Wood as a fictionalized version of Foer traveling to Ukraine to discover family truths buried by the Holocaust, the novel and film are a reflection on the lost history of shetls in Eastern Europe. But when the film arrived on the fall festival scene, underwhelming reviews

This episode, we talk about Elijah Wood’s post-Lord of the Rings career and the other films that have come from Foer’s writing. We also discuss the film arriving in the year of Schreiber’s Tony win, distributor Warner Independent’s successful 2005, and the National Board of Review’s 2005 picks for Special Recognition for Excellence in Filmmaking.

Topics also include emailing Natalie Portman, trailer voiceover, and the Blockbuster vs. Netflix discs era.

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243 – Wonderstruck

We’re talking about one of our favorite filmmakers this episode and for one of his most mildly received movies. In 2017, two years after the critical success of Carol, Todd Haynes returned with a pivot to young adult literature with Wonderstruck. Based on the book by Brian Selznick, the film follows two deaf children across decades who trek into Manhattan in search of family: Rose in 1927 and Ben in 1977, respectively played by Millicent Simmonds and Oakes Fegley. With passing observations to film history and the invention of the talkie, the film takes a heady approach to a story of familial reconciliation across generations. But when the film widely disappointed viewers early on at the Cannes Film Festival, the film struggled to gain fans over the year, becoming the first of Amazon’s many awards duds over the season.

This episode, we discuss the film’s early tepid reception at the Cannes Film Festival and all of the talk of this year’s Cannes, including the debut of Haynes’ May December. We also discuss Simmonds’ work in the A Quiet Place franchise, the challenge in marketing Haynes’ films, and Julianne Moore’s dual roles in both storylines.

Topics also include Carter Burwell’s glorious score, another round of Alter Egos, and gossip from the 2017 Cannes.

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