Oscars – Page 19 – This Had Oscar Buzz

147 – Boy Erased (Focus Features – Part Five)

Our Focus Features miniseries comes to a close with 2018′s Boy Erased. Based on the memoir by Garrard Conley, the film stars Lucas Hedges as a young man from a religious family who is subjected to conversion therapy when his parents (played by Nicole Kidman and Russell Crowe) discover that he is gay. Though sensitively approached by director/star Joel Edgerton, the film is ultimately is too reserved and stumbles to get inside the head of its protagonist, resulting in a milquetoast response from awards voters and audiences.

This episode, we discuss Hedges’ busy fall of 2018, his soft coming out of sorts, and the Ben Beautiful Boy Erased is Back blur of movies in that season. We also look at Crowe’s quiet end to being considered an Oscar darling and Kidman’s dual THOB fall 2018 with Destroyer. And we get into the film’s ups (a strong cast of bit players!) and downs (that perfume ad scene!) in telling a queer story, and of course “Bloom.”

Topics also include 2018′s Original Song race, sprained ankles at TIFF, and our Top 10 favorite Focus Features films.

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146 – The Place Beyond the Pines (Focus Features – Part Four)

This week, our Focus Features miniseries brings us to The Place Beyond the Pines, Derek Dianfrance’s epic, novelistic tale of fathers and sons. The film reunited Cianfrance with his Blue Valentine star Ryan Gosling as a motorcyclist who turns to crime, with consequences that will reverbate across households and generations. After launching at TIFF in 2012, Focus Features held the film until the following spring, leaving it as a highly divisive afterthought come awards season.

We unpack Cianfrance’s ambitious triptych vision with a stellar ensemble cast of Gosling, Bradley Cooper, Dane DeHaan, Ray Liotta, Rose Byrne, Ben Mendelsohn, and Eva Mendes. We discuss the film’s underserved female characters, early 2010s Gosling fatigue, and its emotionally intelligent exploration of masculinity that still left some viewers cold. And there’s still room to rave over cinematographer Derek Cianfrance and his bold work for this film that left him with a concussion.

Topics also include Cianfrance’s underseen HBO limited series I Know This Much Is True, Michelle Williams’ nomination for Blue Valentine without one for Gosling, and reading A Little Life on vacation.

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145 – Lust, Caution (Focus Features – Part Three)

We’ve come to the midpoint of our Focus Features miniseries with a work from a modern master, 2007′s Lust,Caution from Ang Lee. An erotic thriller set in Hong Kong and Shanghai during the Japanese occupation, Lust, Caution follows a breakthrough Tang Wei as Wong Chia-Chi, a woman who joins an assassination plot where she must seducce the target, played by icon Tony Leung Chiu-Wai. Lee earned a back-to-back Golden Lion win for the film at Venice after Brokeback Mountain, but several factors likely played into Oscar overlooking the film: its NC-17 rating, Lee’s recent Brokeback success, and Oscar deeming the film ineligible for Best Foreign Language Film.

This episode, we go deep on the minutiae regarding the Foreign Language / International Feature elibigibility and nomination process in recent years, including 2007 as a beginning to Oscar adapting procedure for the category. We also look at Tang Wei’s brilliant performance, the film’s international assemblage of talent behind the camera, and Lee’s history of exploring sexual themes.

Topics also include Focus Features’ sizzle reels, the 2007 Venice Film Festival, and the surprising Focus film that unites our three THOB miniseries so far.

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144 – Possession (Focus Features – Part Two)

Our Focus Features miniseries continues with the first official Focus release, 2002′s Possession. Adapted by Neil LaBute from A.S. Byatt’s celebrated novel, the film follows Gwyneth Paltrow and Aaron Eckhart as poetry scholars who fall in love while unearthing a secret love affair between two Victorian poets, played by Jennifer Ehle and Jeremy Northam. The adaptation had a long development process that drew such prestigious names as David Henry Hwang and Sydney Pollack, but arrived to theatres with a whimper of a release due to mild reviews while Focus’ other titles immediately emerged as their bigger Oscar opportunities.

This episode, we look back at Focus’ successful inaugural Oscar year (namely with Far From Heaven and The Pianist) and the history of Paltrow’s British dialect. We also look back at Ehle’s brilliant but under-celebrated career, the final days of USA Films, and what films we think would’ve made it in a Best Picture 10.

Topics also include the film’s perfect sweaters, 2002 cinematic bisexuals walking into bodies of water, and Ehle reading Pride and Prejudice on Instagram.

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143 – The Muse (Focus Features – Part One)

We’re kicking off our May miniseries on Focus Features with the winner of our Listeners’ Choice poll, 1999′s The Muse. To kick things off, we’re looking at how Focus was birthed from the previous companies of USA Films, October Films, Gramercy Pictures and Good Machine. Written and directed by Albert Brooks, The Muse stars Sharon Stone as the titular eccentric tasked with reviving the career of a once-celebrated Hollywood screenwriter (also played by Brooks). The antics result in a slew of cameos, Andie MacDowell baking cookies, and multiple trips to an aquarium, and it all resulted in a Golden Globe nomination for Stone before Oscar looked elsewhere.

But that Globe nomination is now remembered as one of the many bumps in the history of the Hollywood Foreign Press Association’s practices, namely for the watches they received as part of Stone’s FYC campaign. This episode, we look at the lineup of films from the companies that merged into Focus Features, Brooks’ surprisingly limited Oscar history, and Stone’s ascension in the 1990s.

Topics also include our other Listeners’ Choice film options, the film’s datedness even for 1999, and Elton John’s abysmal original song for the film.

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142 – Friends with Money

This episode, we are returning to the career of the great Nicole Holofcener with 2006′s enesemble comedy Friends With Money. The film stars Jennifer Aniston as the housemaid friend to three wealthy women played by Joan Cusack, Catherine Keener, and Frances McDormand, and studies class and friendship with the kind of wit and grace that’s made Holofcener’s films so special. But despite strong notices for Aniston’s off-type performance and rising appreciation for Holofcener’s work, the film peaked with a Supporting Actress win for McDormand at the Independent Spirit Awards.

Once again, we praise the Holofcener ouevre and exhalt the Holofcener/Keener partnership. We also look at Cusack’s rare multiple comedy Oscar nominations, Aniston’s love of working with comedic actors like Adam Sandler, and McDormand going off in an Old Navy.

Topics include creative differences between Holofcener and Julianne Moore attempting to make Can You Ever Forgive Me?, films that might have overshadowed her work in their Oscar seasons, and our Holofcener rankings.

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141 – Carlito’s Way

We return to the filmography of Brian DePalma this week with 1993′s Carlito’s Way. The film reunited DePalma with his Scarface star Al Pacino as Carlito Brigante, a former criminal struggling to go straight after his release from prison and his shady circle that keeps pulling him back in. Released the year after Pacino’s long-awaited Oscar win for Scent of a Woman, the film and Pacino received mixed reviews and was ultimately buried in Universal’s mighty awards slate that included Schindler’s List, Jurassic Park, and In the Name of the Father.

This week, we discuss Al Pacino’s Oscar draught between his win and The Irishman and some of the troublesome spots in DePalma’s filmography. We also look at John Leguizamo’s cinematic breakout in the early ‘90s, Penelope Ann Miller’s filmography of female roles in male-centered movies, and an “unrecognizable” Sean Penn returning from a three year movie break.

Topics also include the Cahiers du Cinema, Carole Bayer Sager’s Oscar nominations in Original Song, and iconic ghost cinema Heart and Souls. And we also announce our upcoming May miniseries!

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140 – A Home At The End Of The World

After the success of The Hours in 2002, author Michael Cunningham was a hot commodity in prestige cinema. At the same time, Colin Farrell emerged as the next big thing and was seemingly inescapable at the movies. The two converged in 2004 for A Home at the End of the World, an adaptation of Cunningham’s novel delivered by celebrated stage director Michael Mayer. Also starring Robin Wright, Sissy Spacek, and a breakthrough Dallas Roberts, the film follows a bisexual throuple that forms their own unique family unit outside the societal norms and their struggles to maintain their delicate balance.

Released in the summer and met with lukewarm reviews, A Home… was mostly forgotten by year’s end despite the strong work of its cast. This episode, we revisit an early THOB bet about Colin Farrell’s long-term Oscar prospects and discuss the beginning days of both Warner Independent and Farrell’s career.

Topics also include Oscar’s recent history of straight actors in LGBTQ roles, Sissy Spacek smashing plates in the aughts, Michael Mayer’s Broadway directing credits, and “pentathalon bangs”. And we tease this year’s May miniseries!

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139 – Carnage

After becoming a Broadway sensation, landing the Tony Award for Best Play and lead acting nominations for each member of its acting quartet (including a win for Marcia Gay Harden), Yasmina Reza’s God of Carnage looked primed to become yet another stage-to-screen adaptation with Oscar in its sights. But when the movie version arrived, it eschewed the play’s lauded, starry Broadway cast (not to mention the many famous names that starred in hit productions around the globe) for a miscast foursome: Jodie Foster, John C. Reilly, Christoph Waltz, and Kate Winslet. The film, abreviated to simply Carnage, failed to capture the play’s humor and precise bourgeois target, on top of being directed by Roman Polanski.

This episode, we compare the missteps of the film to the successes of its stage version, including one major mistake that bookends the film. We also discuss Marcia Gay Harden’s Tony speech, map Winslet’s long road to Oscar starting with Sense and Sensibility to the category maneuvering of The Reader, and play another round of Alter Egos.

Topics also include American Express commercials, Broadway bootlegs, and the infamous barf scene.

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138 – All the King’s Men

We’re finally getting around to one of the most notorious of aughts era failed awards plays, Steven Zaillian’s All the King’s Men. A remake of the former Best Picture winner and originally heavily predicted in the 2005 season, the adaptation was unceremoniously punted into the following year. The next September, the film had a disastrous debut at TIFF and was in and out of theatres within a month. Incoherent and uninspired with a barking Sean Penn at the center, the film is a soup of accents and flat convolutions that makes for a flop that is more boring than cringeworthy.

Zaillian has yet to direct a film since, but we look back at his other directorial efforts like Searching for Bobby Fisher, as well as a writing career that’s paired him with a top tier of directors. This week, we look at the 2006 Toronto International Film Festival packed with successful Oscar plays and remembered for its thwarted Borat premiere. And we discuss The Departed and Scorsese’s winding road to Best Picture, almost again blocked by a stealth Clint Eastwood. Mark Ruffalo quiz alert!

Topics also include Kate Winslet’s odd lineup of 2006 titles, why Jude Law is better when not playing a traditional leading man, and the traumatic cinema experience that is Jack the Bear.

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