Sean Penn – This Had Oscar Buzz

281 – Fair Game

We return to the work of Naomi Watts this week for a discussion on 2010’s Fair Game. Costarring with Sean Penn for the third time in a decade, Watts starred as outed CIA agent Valerie Plame with the film detailing the leaking of Plame’s identity amidst her husband Joseph C. Wilson’s criticisms of the Bush administration. With Doug Liman taking the director’s chair after a series of action films, the film is a surprisingly sober recounting of the Plame story and one of Hollywood’s better offerings deconstructing that era of American culture. But despite launching the film at Cannes and Watts’ solid performance, the film became yet another disappointment among the many political dramas of the period.

This week, we talk about the career of Liman, including the fraught production of The Bourne Identity. We also discuss Watts’ period between her two Oscar nominations, the general landscape of Bush era politics and how few films successfully unpacked it well, and the relative box office disappointment of Edge of Tomorrow.

Topics also include Feud: Capote vs. The Swans, Bush administration names like “Scooter,” and the National Board of Review’s Freedom of Expression award.

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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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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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