Oscars – Page 31 – This Had Oscar Buzz

097 – The Others

We are taking the rare This Had Oscar Buzz stroll through the horror genre this week and also discussing the rare case of a performer possibly splitting their own vote. The Academy rules state that one performer cannot be nominated for two performances in the same category, and one case against that rule was Nicole Kidman’s 2001. Eventually nominated for the more broadly rewarded Moulin Rouge!, Kidman also gave a much heralded performance that year in this week’s film The Others.

This episode, we look back at the precursor run for Kidman in 2001 that was likely closer than we remember between her two performances – and her divorce with Tom Cruise. We also discuss musty mansion movies, Fionnula Flanagan as a deserving supporting actress contender, and 2001 as an underrated movie year.

We also encourage listeners to donate to the Emergency Release Fund, supporting bail funds for trans people jailed while protesting systemic racism and police brutality in New York City. Donate at emergencyreleasefund.com

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096 – Nurse Betty (with Rob Scheer)

Renée Zellweger’s three year run with Oscar in the early 2000s makes for oft-discussed trajectory, perhaps so much so that we don’t always remember her near nomination the year before it all began. This week, film publicist Rob Scheer joins us to look back at her Golden Globe winning performance in Nurse Betty, a dark comedy about a woman so traumatized by witnessing her husband’s murder that she breaks from reality and persues the fictional soap opera doctor she adores.

This episode, we discuss director Neil LaBute and his abrasive playwrighting style in addition to Nurse Betty‘s reception at the Cannes Film Festival. We also take a big picture look at the 2000 Oscar race including the Globes and National Board of Review. And we revisit a favorite “what if” Oscar scenario and imagine how following Oscar years would play out if Zellweger had instead gotten her Oscar for Chicago.

Topics also include frantic Oscar telecast control rooms, Björk as potential (or not) sixth place Best Actress contender, and thanking John Carrabino.

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095 – St. Vincent (Naomi Watts – Part Four)

Nao-May comes to a close this week with St. Vincent, the 2014 film that starred Bill Murray as an old codger who learns to love while caring for a not-quite-precocious preteen. The dramedy targeted that elusive follow-up nomination for Murray after losing out for Lost in Translation a decade prior, not to mention holding promise for a dramatic turn from Melissa McCarthy. But it is perhaps most remembered by awards hounds for Watts’s surprise SAG nomination as a pregnant Russian immigrant sex worker.

This week, we look at Naomi’s successful 2014 (that also included starring in Best Picture winner Birdman), her career post-St. Vincent, and what we imagine lies ahead for her career. We take another final look at Watts as a committed performer to sometimes unfortunate material, as evidenced by this film and… oof, The Book of Henry.

Topics also include the film’s rainsoaked TIFF premiere, embarrassing interviews on morning shows, and (once again) Jaden Mein Leiberher Martell.

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094 – Diana (with Richard Lawson) (Naomi Watts – Part Three)

As our Naomi Watts miniseries continues into its third week, we come to the biggest misfire therein: 2013’s reviled biopic Diana. With Watts taking on titular role, the film follows Princess Diana in her final days and her thwarted romantic relationship with surgeon Hasnat Khan (played bby Naveen Andrews). But in an attempt to avoid the salacious of headlines, the film became a bland failure and received much-earned bad reviews when it opened.

Vanity Fair chief critic and Little Gold Men cohost Richard Lawson returns this week to talk about the actress’s path to a second Oscar nomination and how Diana quickly took the wind out of those sails. Yet another example of Watts working with the right director at the wrong time, the film also suffers from an ambivalent approach to its subject by director Oliver Hirschbiegel. On top of the film’s dullness, we discuss how some felt its very existence missed the point of Diana Spencer’s death.

Topics also include the film’s symmetry to Nicole Kidman vehicle Grace of Monaco, KT Tunstall song cues, and teenage psycho twinks.

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093 – The Painted Veil (Naomi Watts – Part Two)

Our second episode on the Oscar trajectory of Naomi Watts brings us to 2006’s The Painted Veil, a W. Somerset Maugham adaptation set during a cholera outbreak in 1920s China. Watts starred opposite Edward Norton as a combative English couple whose love rekindles after an affair, with the actress’s then-boyfriend Liev Schreiber as the other man. The film reminds of similar period costume dramas that once was thought to be prime Oscar fodder, but became another example of how that tide has turned in recent years.

However, The Painted Veil was moreso plagued by an Oscar campaign that started far too late, despite lingering in predictions throughout the season. Distributed by Warner Independent, delays in post-production meant the film was forced to skip the fall festivals and arrived late to the screener pile that was crucial to Oscar campaigns in the mid-00s. This episode, we look back at the short-lived run of Warner Independent and the Best Picture winner that was almost theirs.

We also discuss Diana Rigg in a mirror opposite to her Game of Thrones character, composer Alexandre Desplat, and cult musical Chess.

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092 – Le Divorce (with Bobby Finger) (Naomi Watts – Part One)

We kick off our Nao-May miniseries this week with contemporary Merchant Ivory misfire Le Divorce. After missing out on a nomination for Mulholland Drive, Naomi Watts’ first foray with prestige filmmaking was this literary adaptation about two American sisters in Paris caught in the cultural crossfires of French perspectives on love and legality. Opposite the shared Oscar potential of Kate Hudson, the film’s marketing promised a fun and sexy romp and delivered a dull and fangless mild satire. Watts would go on to earn her first Oscar nomination later in the year for 21 Grams, leaving this film as a footnote to her success.

Returning guest and Who Weekly co-host Bobby Finger joins us to discuss how Le Divorce fails to serve Watts’ growing screen career and how her work in The Ring is underrated. We also look back at the career of Kate Hudson and the 2003 Best Actress race that had two heavy-hitting frontrunners that likely left Watts in a distant third place.

Topics also include handbags with history, recommendations while working at Blockbuster, and “Cinema Italiano”.

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BONUS – We Like Her With The Bonnet

This May, we are kicking off our second ever miniseries by taking a month-long dive into the filmography and Oscar history of Naomi Watts. Coming this month: we’re talking Le Divorce, The Painted Veil, Diana, and St. Vincent. And to kick things off, we are bringing you a special mini episode to set the stage for the discussion.

In 2001, Watts emerged on the scene in a big way with David Lynch’s Mulholland Drive, but missed out on a Best Actress nomination against very mighty competition. In this episode, we discuss that genius performance and how it would set the stage for Watts as a performer who was owed a follow-up nomination after the snub. Topics also include perfect American dialects, other THOB-eligible movies starring Watts, and her track record of working with great directors.

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090 – Magic Mike

Based loosely on star Channing Tatum’s experience as an exotic dancer, 2012’s Magic Mike lured director Steven Soderbergh out of his ongoing “retirement” and became a summer smash. Women loved it, men loved, the critics loved it – except the Academy did not. Though released during the full swing of the McConnaissance, it would take another year for Oscar to honor Matthew McConaughey, overlooking his charming, thong-clad villain performance here, despite love from some major precursors.

This episode, we fire up the Ginuwine to discuss Tatum’s rising movie star career from beefcake to surprising comedic talent to his current downshift in visibility. We also look at Soderbergh’s career post-Oscar, including his reticence to play the Oscar game that might leave films like this (and Contagion) out of the running.

Topics also include the 2012 Best Supporting Actor field of all previous nominees (and who we think might have had sixth place), the forgotten Alex Pettyfer, and the multiple onscreen appearances of Channing Tatum’s bumbum.

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089 – The Rainmaker

Francis Ford Coppola is a legendary director among Oscar lore thanks to the Corleone family, and this week’s episode pairs him with a name that resulted in much ‘90s cinematic prestige: John Grisham. After a string of hit adaptations that danced with major Oscar consideration, Coppola took his shot at Grisham’s The Rainmaker. But despite good reviews (and a Globe nomination for supporting actor Jon Voight), the film earned mild box office that halted the Grisham hot streak. Led by an emerging Matt Damon, the film was also overshadowed just one month later by the release of Good Will Hunting.

This episode, we revisit the box office success and Oscar near-success of films adapted by the mega-popular works of the legal thriller / airport staple John Grisham. We also discuss Coppola’s late career phase of largely unseen and unheralded films, the stacked 1997 Best Actor field, and The Rainmaker’s bursting cast list of glorified cameos and supporting players.

And this episode brings the return of two of our favorite topics: Claire Danes and the Entertainment Weekly Fall Movie Preview.

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088 – Alfie (with Griffin Newman)

We’re taking it back to Jude Law’s infamously busy 2004 this week and we’ve got a special guest to help dissect it. Actor and cohost of the Blank Check with Griffin and David podcast Griffin Newman joins us to discuss Alfie, the modernized remake of the 1966 Best Picture nominee with Law filling Michael Caine’s previously star-making shoes.

In a 2004 that also filled his resume with Closer, I Heart Huckabees, and Sky Captain and the World of Tomorrow, Alfie was was one that was most bent on turning Law into a bonafide movie star – and the biggest bomb with audiences and critics. Not helped by an updated take that is significantly more shallow than the original, this film suffered from a star overexposed to audiences both onscreen and in the tabloids. This episode, we look at Law’s quick turnaround from omnipresence to punchline, and his eventual reemergence as a character actor.

We also take a look back at the career of director Charles Shyer and his quality drop-off after the end of his personal and creative partnership with Nancy Meyers, and the one-two punch of Chris Rock and Sean Penn commenting on Law at the Oscars. Topics also include the era of metrosexuality, London as a terrible stand-in for New York City, and Beyoncé performing three Original Song nominees at the Oscars.

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