Susan Sarandon – This Had Oscar Buzz

290 – The Front Page (with Roxana Hadadi) (70s Spectacular – 1974)

1974 brings us to one of the final films of Billy Wilder, which also reunited a screen duo beloved by both Oscar and audiences, Jack Lemmon and Walter Matthau. Vulture writer Roxana Hadadi is back to the show to talk about The Front Page, an oft-adapted farce about newspapermen getting wrapped up in the case of an escaped convict. Most famously retold in a gender swapped version in His Girl Friday, this version stumbles to deliver the best of this director-star trio and missed Oscar’s good graces despite multiple nominations in the decade for Mathau and Lemmon, including Lemmon’s win the previous year.

This episode, we talk about the victory lap made by Francis Ford Coppola with The Godfather Part II and The Conversation both earning Oscar love. We also talk about the film’s apoliticism was atypical of the moment, our love for Ingrid Bergman’s Supporting Actress speech, and the hubbub over the acceptance speech for Best Documentary Feature Hearts and Minds.

Topics also include disaster movies becoming the splashy Hollywood product, The Godfather Part II Supporting Actor nominations, and Anderson Cooper talking about his mom hooking up with Marlon Brando.

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218 – The Meddler (with Richard Lawson)

Vanity Fair’s chief critic Richard Lawson return to us this week to talk about a piece in a trend of films about aging women self-actualizing, Lorene Scafaria’s The Meddler. Starring Susan Sarandon as a widow ingratiating herself to her writer daughter (played by Rose Byrne) and her circle of friends, The Meddler provides a hilarious and heartwarming showcase for Sarandon, all told with uncommonly holistic observation by Scafaria. The film premiered at TIFF in 2015, earning deep affection from some critics like Richard and Joe, but was ultimately held until the following late spring, leaving an uphill climb in 2016′s stacked Best Actress race.

This episode, we talk about our love of the film and Richard’s placement of it at the top of his best films of 2016. We also talk about Scafaria’s depiction of her own mother, Byrne’s underrated brilliance within a varied career, and tense Apple store Q&As. And we’ve got an update on Vulture’s Movies Fantasy League!

Topics also include J.K. Simmons’ glorious mustache, old-baiting the AARP Movies for Grownup voters, and Joe’s personal paradise, The Grove.

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160 – Elizabethtown (with Phil Iscove)

Joining us this week is Podcast Like It’s 1999′s Phil Iscove to finally unpack a foundational This Had Oscar Buzz text. After winning an Oscar for Almost Famous and delivering a financially succesful (if extremely divisive) hit in Vanilla Sky, Cameron Crowe decided to return to his roots with Elizabethtown. Starring Orlando Bloom as a young shoe designer struggling to cope with professional ruin and the sudden death of his father, he meets a buoyant flight attendant played by Kirsten Dunst who brings him back to to himself. Crowded with song cues, bizarre character beats, and notes of whimsy that struggle to stick the landing, the film received a disastrous critical response at the Venice and Toronto film festivals, leading Crowe back into the editing room before release and Oscar to immediately count this one out.

Still a film that has a sizable fanbase of defenders of its earnest vibes, Elizabethtown is remembered today as the beginning of the end for Crowe and birthing the phrase Manic Pixie Dream Girl (as penned by Nathan Rabin). This episode, we dive into all that works and doesn’t for us in Crowe’s sentimental screwball movie, its infamous casting struggles with the biggest young acting names of the time, and the ups and recent downs of Crowe’s career.

Topics also include Roger Ebert’s later reassessment of the film’s theatrical cut, the Crowe/Tarantino divide of pastiche, and tap dancing at funerals.

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158 – Stepmom (with Christina Tucker)

It has to be said that we have been waiting to do Stepmom from the very beginning, and what better excuse to finally dive in to Chris Columbus’ Christmas Day weepy than this week’s special guest Christina Tucker, co-host of the podcast Wait, Is This A Date?. Uniting the 1998 powers of America’s sweetheart Julia Roberts and recent Best Actress winner Susan Sarandon as a mother diagnosed with cancer and her ex-husband’s future wife, the film earned Sarandon a Golden Globe nomination despite critics not taking to the film’s very sentimental mood.

This episode, we unpack all of the film’s silly moments, from unwieldy real estate to photoshop, from new and various house pets to snowblowing, and all of the things in between that we love about it. We also look at Julia Roberts’ swings from successes to misfires in the 90s, Jena Malone’s return to pop culture in The Hunger Games series, and Susan Sarandon joins our 6 Timers Club!

Topics also include the 1998 Best Actress race, the Blockbuster Entertainment Awards, and VH1′s I Love the 80s.

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155 – Moonlight Mile

Jake Gyllenhaal is the latest to join our Six Timers Club this week with 2002′s Moonlight Mile. Written and directed by Brad Silberling, Gyllenhaal leads the film as a young man living with the parents (played by Susan Sarandon and Dustin Hoffman) of his fiance’s parents in the aftermath of her murder. A light dramedy with semi-autobiographical elements from Silberling, the film set expectations high with an emotional trailer but quickly died after a poor TIFF reception and even dimmer box office. With an Oscar year that leaned heavily on December releases, this film was an awards afterthought.

This week, we look back at Gyllenhaal’s THOB history and Sarandon’s stellar triptych of very different (and all buzzed) screen moms in 2002. We also discuss the true story that inspired the film, distributor Touchstone’s buzzy 2002 that also includes 25th Hour and Signs, and the film’s onslaught of needle drops.

Topics also include the iconic 2002 Best Supporting Actress lineup, Brian Cox doing McDonald’s commericals, and why Goldie Hawn should be in the hypothetical third Mamma Mia! movie.

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115 – The Death and Life of John F. Donovan

For his first English language film The Death and Life of John F. Donovan, Cannes darling Xavier Dolan assembled a stunning prestige cast that promised a major leveling up from the filmmaker. And then disaster struck. Filming began shortly after his critically reviled It’s Only the End of the World debuted and at Cannes and Dolan’s response cemented his bratty reputation. And then years of post-production and a reported four hour cut resulted in a very quiet premiere at TIFF 2018, with an even quieter release on VOD over a year later. Starring Kit Harington as a young hearthrob and Jacob Tremblay as a gay preteen who wrote fanletters, the film is also a story of mothers and sons and fame with Natalie Portman, Susan Sarandon, and Thandie Newton rounding out the cast.

In this episode, we unpack everything that makes Dolan a fascinating filmmaker, from his extensive career at a young age to openly sparring with his critics to his creative peak with 2014′s Mommy. We also discuss Jessica Chastain’s highly touted role cut from the film, Mads Mikkelsen’s memed reaction to Dolan’s Cannes win, and the film’s sometimes cringey use of popular music.

Topics also include Dolan’s video for Adele’s “Hello”, actresses we would like to see work with Dolan, and Magical Scarved Homosexual Strangers.

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