We’re back home from our latest trip to the Toronto International Film Festival! And as always, we’re offering you a buffet of our reactions from a week’s worth of movies that will be coming soon to a theatre near you! We talk about the newest People’s Choice Award winner La Bola Negra, along with the International People’s Choice Award winner (and Best Actor contender for Andrew Scott) Elsinore. Topics also include Julianne Moore earning huge crowd reaction in The Debut, Martin McDonagh’s Wild Horse Nine underwhelming us both, our collective favorite of the fest Mike Leigh’s Tender Loving Care, the TIFF preroll ads, injuries, festival flops, and more!!

After their 2017 exposé of the horrors Harvey Weinstein inflicted upon women for decades, Jodi Kantor and Megan Twohey detailed their process in their 2019 book She Said. Post-pandemic, Maria Schrader directed an adaptation that reflected the lives of both reporters in tandem with their work and their struggle to get women on the record about the case. With a strong and sprawling ensemble led by Zoe Kazan and Carey Mulligan, the film was ultimately met with polite but less than effusive reviews.

This episode, we talk about the film’s struggle with depicting expository process and the perhaps unavoidable comparisons to Spotlight. We also discuss Mulligan’s category fraud campaign in Supporting Actress, Samantha Morton giving one-scene barnburner, and the film’s use of actors in the roles of familiar names in the case.

Topics also include the AARP Movies for Grownups Awards, Ashley Judd playing herself, and MVP Jennifer Ehle.

Celebrating its 25th anniversary this year, Hedwig and the Angry Inch is a musical like no other. A Off-Broadway smash in 1998 from creators John Cameron Mitchell and Stephen Trask, Mitchell also starred as the titular volatile rocker who escaped East Berlin after a forced surgery to live as a woman, only to have her songs stolen by the protege she takes under her wing. For the film, Mitchell also took over directing duties, earning several Breakthrough Director honors for the beloved film, earning a new legion of fans.

This episode, we talk about our origins with the film/musical and how the film shared the summer with another rule-breaking musical, Moulin Rouge!. We also discuss JCM’s rangy directorial output, Miriam Shor’s performance as Yitzhak, and the starry Broadway revival that came a decade later.

Topics also include the 2001 Sundance Film Festival, Andrea Martin, and costume designer Arianne Phillips.

We welcome back Richard Lawson this week to discuss Tommy Lee Jones’s final (to date!) directorial effort, 2014’s The Homesman. Led by Hilary Swank, the film follows a 19th century woman charged to transport three women with “prairie madness” across the Nebraska Territory. With Jones as a wayward man who assists her journey, the film debuted at Cannes and promised a return to the Best Actress race for Swank that never came to be.

This episode, we talk about Swank’s two Best Actress Oscars and Richard details his first experience with Cannes. We also talk about this film’s arrival after neo-westerns made a splash in the late aughts, its reflection on women during old west times, and Meryl Streep’s third act cameo.

Topics also include Ben Schnetzer, Amy Madigan narrating the Donner Party, and Julianne Moore’s sudden arrival in 2014’s Best Actress race with Still Alice.

As The Odyssey continues to prove to be a career peak for Christopher Nolan and possible return to the Oscar stage, we’re looking back at a very different take on Homer’s epic poem. In 2024, The Return reunited Ralph Fiennes and Juliette Binoche as the Ithacan king and queen – but limited the story just to the fallout from Odysseus’s arrival back to his kingdom. Despite the promise of TIFF Gala placement and a holiday release, The Return was met with a shrug on arrival.

This episode, we talk about Ralph Fiennes’s physique-forward performance (eye emoji) and Fiennes in the year of Conclave. We also discuss Charlie Plummer’s brattier take on Telemachus, the film’s lackluster design and aesthetics, and the Oscar hopes for Nolan’s blockbuster.

Topics also include Bleecker Street Film, Penelope’s loom, and Best Picture reunion 20 Questions.

In the bygone moviegoing trend of “interconnected stories of Angelenos,” this week’s episode is a forgotten entry with a loaded cast. Playing By Heart from writer/director Willard Carroll follows multiple stories of romantic struggles, with Gena Rowlands and Sean Connery as a TV chef and her producer husband as the film’s epicenter. With themes of infidelity and HIV/AIDS throughout, the ensemble’s standout was a pre-Oscar Angelina Jolie as a manic actress chasing after a blue-haired Ryan Phillippe. While Miramax put its full weight into Shakespeare in Love, this film fell by the wayside in their awards lineup after mixed reviews.

This week, we talk about Jolie’s breakthrough years with Gia and her NBR prize for this film. We also discuss Gillian Anderson’s rare film performances, Ellen Burstyn serving Hannah Pitt, and Dennis Quaid’s deranged plot line of hoaxing strangers with sob stories at various L.A. bars.

Topics also include the original title “Dancing About Architecture,” AIDS onscreen post-Rent, and being haunted by April Grace.

It’s our 400th episode this week, so we had to go big. What could be more fitting than a notorious bomb with major star pedigree?! No stranger to misfires, Warren Beatty nevertheless was one of the biggest names in Hollywood that could generate buzz with any project – and more prophetically in this case – could have any budgetary or creative demand met. Town and Country was a simple middle-aged sex farce (that Beatty took neither producing or writing credits…) that ultimately resulted in years of reshoots or creative redirections before becoming one of the biggest and most forgotten Hollywood box office bombs.

This episode, we talk about how the film fails to riff on Beatty’s playboy star persona and the film’s troubled production history. We also talk about the numerous rewrites and reshoots that plagued the film, a foul-mouthed Marian Seldes, and and Beatty’s reactions to the film’s disastrous press cycle.

Topics also include Idaho costume parties, cello tattoos, and our favorites from the previous year of the show.

Emmy winner Jeff Hiller joins us this week to talk about one of our beloved Nicole Holofcener’s earliest films. Lovely and Amazing follows a Los Angeles family of women burdened by insecurities, from the mother (Oscar nominee Brenda Blethyn) opting in to liposuction to her two adult daughters who help her with a preteen adopted sister. Debuting at festivals in 2001, the film released the next summer to strong reviews for Holofcener muse Catherine Keener and earned an Indie Spirit win for Emily Mortimer.

This episode, we talk about Holofcener’s style of funny and bracing brutal honesty and this film’s depiction of actor insecurities. We also discuss Mortimer’s showcase scene mentioned in many reviews, Raven Goodwin’s terrific child performance, and some of the forgotten titles from that year’s Independent Spirit awards.

Topics also include Apple Trailers, news bloopers, and tackling Isabelle Huppert.

With Spider-Man: Brand New Day arriving in theatres this week, we’re looking back at director Destin Daniel Cretton’s 2013 debut, Short Term 12. Launched at SXSW and distributed in late summer by micro-indie Cinedigm, the film earned major critical support for its portrait of a child group home populated with compelling characters, both among its residents and the counselors who care for them. Though the tiny film was an unlikely candidate to make it to the big show, Brie Larson earned a Critics Choice nomination that helped boost her Oscar-winning run for Room two years later.

This episode, we talk about Cretton’s later reuniting with Larson over subsequent films and the cast full of future major names like Rami Malek and Kaitlyn Dever. We also discuss Lakeith Stanfield’s powerful (and musical) performance as the most enigmatic resident, John Gallagher Jr.’s Tony win for Spring Awakening, and the 2013 Independent Spirit Awards.

We welcome back Oscar-nominated My Year of Dicks filmmaker Pamela Ribon this week for [gasp] our very first documentary episode! In 1988, Errol Morris made a documentary hit out of The Thin Blue Line. Detailing police corruption and bias that led to the wrongful conviction of Robert W. Wood for a police shooting, the film became a non-fiction landmark for unpacking the the case’s inconsistencies and ultimately led to Wood’s vindication.

This episode, we talk about how the documentary branch overhauled their nominating process in the wake of snubs for films like this and Hoop Dreams. We also discuss the stigma of non-fiction reenactments, how the film would influence later true crime doc style, and Pam’s work on her upcoming documentary, One Act.

Topics also include Morris’ Gates of Heaven, Werner Herzog eating his shoe, and what the hell a malt is.