TIFF – This Had Oscar Buzz

263 – A Good Year

After the Oscar and box office success of Gladiator, director/star duo of Ridley Scott and Russell Crowe decided to reunite in 2006 for a very different kind of film, A Good Year. Starring Crowe as a finance bro who returns to the French vineyard of his beloved but estranged and now deceased uncle (played by Albert Finney), the film offered Scott the chance to shoot a film close to home and stretch himself into comedy. With Marion Cotillard as Crowe’s love interest and Abbie Cornish as the uncle’s rightful heir, Scott’s fledgling comedy chops resulted in a misfire and one of the biggest bombs of his career.

This episode, we discuss the Ridley Scott post-Best Picture filmography and the 2006 Best Actor race. We also look at Cotillard’s Oscar win during a strike year, Cornish’s world-traveling dialects, and the 2006 TIFF Galas.

Topics also include Industry, a former lost episode, and Buffalo voice.

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Back to TIFF!

We’re back from our annual trip to the Toronto International Film Festival! Once again, we’ll be dissecting our festival experience, the films we saw, and what lies ahead for the season. We discuss the Peoples’ Choice Award winner American Fiction and its chances in the awards race, several International Feature contenders at the festival including Perfect Daysand The Teachers’ Lounge, the highs and lows of festival films by actors making their directorial debuts, and our top 5 films of the festival!

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216 – Snowden

Welcome all our new CIA listeners, because this week we are talking about 2016′s Snowden. Starring Joseph Gordon-Levitt as controversial whistleblower Edward Snowden, the film follows Snowden’s journey through exposing the surveillance state and his exile to Russia, all while maintaining his relationship with girlfriend Lindsay Mills (played by Shailene Woodley). With Oliver Stone at the helm and Laura Poitras’ Snowden doc Citizenfour having recently earned the Best Documentary Feature Oscar, the film arrived with high expectations that it immediately disappointed when this bland biopic debuted at TIFF.

This episode, Joe gives us a recap of his New York Film Festival experience this year before we dive into Stone’s misfire. We also talk about Oscar winners that have played Oscar winners, Gordon-Levitt’s distracting baritone while playing Snowden, Peter Gabriel’s film awards history, and Stone’s fall from the height of his cultural significance in the 1980s and 1990s.

Topics also include TIFF premieres that open to general audiences during the festival, the 2011 Best Supporting Actress race that Woodley narrowly missed, and Chris’ ongoing journey with Survivor.

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Reunited at TIFF!

It’s an annual tradition! Joe and Chris (reunited for the first time in years!) are reporting on the films of the 2022 Toronto International Film Festival, including this year’s (Not Grolsch) People’s Choice Award winner: Steven Spielberg’s The Fablemans. And we’ve got bets against each other gaining some heat! This episode, we unpack our feelings about some of the festival’s biggest titles including Glass Onion, Women Talking, The Woman King, The Banshees of Inisherin, and The Inspection. We also discuss potential THOB titles of the future, Taylor Swift crowd control, and the dire Best Actor race. Topics also include the TIFF preroll ads, International Feature contenders, and TIFF’s history of People’s Choice winners and Oscar.

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205 – The Four Feathers

Long-time listeners of the podcast will recognize this week’s episode as one promised from the very beginning! In 2002, The Four Feathers arrived with major Oscar follow-up and star-on-the-rise pedigree. The film was Shekhar Kapur’s directorial follow-up to the Oscar anointed (and Cate Blanchett launching) Elizabeth, and starred three of the biggest young would-be megastars in its love triangle: Heath Ledger, Wes Bentley, and Kate Hudson. But on top of being one of many cinematic versions of A.E.W. Mason’s, the film bored critics and audiences when it world premiered as a TIFF gala, and fizzled entirely upon release a few weeks later.

This week, we talk about its three headliners at critical points of their careers: Ledger being foisted onto traditional leading man roles, Hudson following her Almost Famous Oscar nomination, and Bentley trying to escape that floating plastic bag. We also talk about Kapur’s dual Elizabeth films, the film’s supporting male cast of recognizable faces, and the film’s apolitical stance post-9/11.

Topics also include sideburns, the film’s brownface makeup, and Ledger’s final stretch of roles.

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179 – On Chesil Beach

Saoirse Ronan came on strong at the 2017 Toronto International Film Festival with two films that had the opposite experience: the immediately beloved Lady Bird and the misfire On Chesil Beach, which cratered after world premiering on the first day of the festival. The film reunited Ronan with Ian McEwan, the author of her Oscar-nominated breakthrough performan in Atonement, and cast her as a young woman in the mid-century who experiences a disastrous honeymoon with decades worth of emotional consequences. Also starring Billy Howle (who she would quickly reunite with for The Seagull) as her hot-tempered husband, the film received a very tepid response at the festival despite its pedigree and received a very quiet release the next spring.

This episode, we’re talking about Ronan’s increasingly prolific career and the performances that brought her Oscar nominations, including Atonement, which we will defend to the death. We also discuss the history of Bleecker Street films, their difficulty in securing Oscar nominations, and our favorites of their lineup.

Topics also include that one cello piece used in all of cinema, frustrations over the term “Oscar bait”, and Bebe Zahara Benet’s Jungle Kitty.

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175 – Hustlers

This is an episode about control. We’ve tallied up the votes for our Listeners’ Choice episode and in a landslide victory, 2019′s Hustlers emerged quite victorious. One of our favorite films of 2019, the film (based on Jessica Pressler’s expose in The Cut) stars Constance Wu and Jennifer Lopez as two exotic dancers who team up to drug and rob their wealthy Wall Street customers in the wake of the financial crisis. A highly fictionalized adaptation, the film is a nonstop ride of entertaining moments, all given an empathic treatment by writer/director Lorene Scafaria. Though we have much to say for the film’s many merits, its awards hopes hinged on a career-best Lopez in Supporting Actress, who ran the gauntlet of being nominated at every major precursor only to miss out on an Oscar nomination.

This episode, we discuss how the film’s subject matter was met with unfair indifference despite Scafaria’s thoughtful approach and the film’s surprise $100M box office success. We also dive into its stellar performances outside of Lopez, Scafaria’s directorial career, Lopez’s career from critical praise to romcom star, the film’s deftly handled morality, and “so wait a minute actresses.”

Topics also include Lopez’s notorious 1998 interview with Movieline, the film’s perfect use of pop music, and “we love you, Gary!”

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BONUS – Another Year, Another TIFF

Chris and Joe are back “at” the Toronto International Film Festival, and as we’re prone to do, we’re bringing you a bonus episode to recap the experience. We review our virtual TIFF experience from home with a quick mention of the films we missed and how this hybrid year has made for a more muted festival. We discuss our favorite films of the festival, which films might have boosted or lost their Oscar chances, a strong lineup of documentary films, and potential International Feature submissions.

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151 – Lucy in the Sky

We’ve got another long anticipated episode this week! In 2019, Natalie Portman teamed up with Fargo creator Noah Hawley to bring to the screen a highly fictionalized account of a NASA astronaut who suffered a psychotic break and stalked her lover and co-worker across the country. The more salacious details (namely the urban legend diaper that she wore to prevent stopping her car) were ommitted and a ceaseless slew of aspect ratio shifts were added, resulting in a film that critics and audiences immediately dismissed.

But the film was dead on arrival not only because of its quality, it also released in the immediate takeover of Fox and Fox Searchlight by Disney’s acquisition. With little effort put behind the film, it was gone from theatres faster than jokes could be made about it. This episode, we talk discuss Portman’s boldness as a performer and look back at her previous episodes as she joins our 6 Timers Club! We also discuss Hawley’s flat approach to material, Jon Hamm’s lack of charisma in his movie roles, and Ellen Burstyn talking about “astronaut dick.”

Topics also include the 4DX Experience, the film’s late TIFF premiere burief at the end of the festival, and the still unawarded Saturn Awards.

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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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