This Had Oscar Buzz

We’re doing something a little different this week and setting our sights on one specific Oscar category: Best Animated Feature. This episode, Kyle Amato joins us to talk about The Good Dinosaur, one of the few box office and critical disappointments in the history of Pixar. The story of a timid dinosaur and the human baby he meets on a quest for honor, The Good Dinosaur was plagued by story overhauls and creative disputes, resulting in a final film that follows too closely to Pixar’s formula for upbeat adventure. Critics were dismissive and Thanksgiving weekend moviegoers favored the final Hunger Games instalment instead, with the film ultimately becoming one of Pixar’s few entries to miss an Animated Feature nomination since the category began.

The Good Dinosaur’s biggest Oscar impact was nominated Sanjay’s Super Team as it’s pre-movie short. We talk about Pixar’s history of troubled productions and this film’s comparative failure in the year of Inside Out. We also discuss the Cars franchise as the accepted critical loser in the Pixar brand, Pixar’s unrelenting stronghold on the Animated Feature category, and the film’s stitched together elements of characters and plot elements.

Topics also include dropping hallucinogenics with a baby, our thoughts on Pixar’s 2021 release Luca, and the recent nominees in the Animated Short category.

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Many of Clint Eastwood’s most recent films have arrived in quick turnaround, going from announcement to filming to release in a head-spinningly short amount of time. In 2018, he had one of his fastest productions ever with The Mule, a story of an 80-year-old man estranged from his family who takes on a job hauling drugs across the border in his pickup truck. Inspired partly by a true story, the film’s sprint to theatres set expectations that it might be another of Eastwood’s successful late season arrivals like Million Dollar Baby. The result was a Christmas season box office success, but a film that ultimately didn’t attempt much of an awards campaign to make voters take notice.

This episode, we don’t mince words about how we feel about the film’s offensive stereotypes and clunky pseudo-comic character study. We get into Bradley Cooper reuniting with Eastwood for a thankless role here in the same season as his triumph with A Star Is Born, and how Cooper shockingly missed out on becoming the season’s frontrunner. And we discuss the film’s trolling tactics, the work of screenwriter Nick Schenk, and the free pass the film received by critics.

Topics also include an egregiously underused Dianne Wiest, flirting at flower conventions, and Eastwood grumbling the word “internet.”

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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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This week, we are looking at the work of director Terence Davies and his 2000 literary adaptation of The House of Mirth. Based on the classic Edith Wharton novel, the film casts Gillian Anderson as Lily Bart, a woman who tragically fails to navigate the cruelties of New York high society at the turn of the century. The film earned strong reviews for Davies (rebounding from his adpatation misfire The Neon Bible) and Anderson (still flying high with her Emmy-winning performance on The X-Files), but a small late year release made this one a bigger hit with critics than it ultimately was for the Academy.

We look back at the 200 Best Actress lineup, and discuss how Anderson might have fallen victim to an Academy still too willing to categorized television stars as just television stars and how indie distributor Sony Pictures Classics (rightly) had another awards priority. We also discuss how costume dramas went out of fashion as Best Picture contenders, the film’s spectacular supporting cast, and the 2000 Costume Design nominees.

Topics also include to extinct Village Voice poll, the British Independent Film Awards, and the 2000 Toronto International Film Festival.

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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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Somehow we have yet to cover a film starring Helen Mirren, but this episode, we rectify that with 2015′s Woman in Gold. Mirren stars in the true story as Maria Altmann, a woman who fled the Nazis and later sought restitution of her very famous family paintings by Gustav Klimt. The film also stars Ryan Reynolds as Altmann’s lawyer with an unexamined relationship with his own Jewish lineage and was Simon Curtis’ directorial follow-up to My Week With Marilyn. A sizable counterprogramming hit in the spring, Woman in Gold was campaigned by the financially fledgling Weinstein Company, landing Mirren sual SAG nominations for this and the abysmal Trumbo.

This week, we take a long look at Helen Mirren before and after her Oscar, including her balance between awards fare staple and ironic action star. We also discuss Reynolds’ screen persona opposite his miscasting here, movies about paintings, and the difference between “overdue” and “this is their year” narratives.

Topics also include the power of being the season’s first screener, Olga Kurlyenko’s Black Widow cameo, and the best mode of transportation in which to seek leisure.

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“This was very disrespectful.” Once again, Kevin O’Keeffe joins us to talk about the one and only Jessica Chastain for A Most Violent Year. Starring an on-the-rise Oscar Isaac as an emerging entrepreneur in the 1980s trying to avoid crime in dirty business, the film chased Oscar after writer/director J.C. Chandor’s Original Screenplay nomination for his debut Margin Call. But the film’s closest shot at Oscar was the supporting performance by Chastain as Isaac’s wife with a secret or two, which earned her Critics Choice, Independent Spirit, and Golden Globe nominations. Though many predicted Chastain, a surprise nomination went to Laura Dern for Wild, and A Most Violent Year was left out in the Oscar cold.

This episode, we talk about the Oscar Isaac performances that deserved Oscar attention, including the year where the likes of he and Tom Hanks missed out on nominations. We also discuss genius cinematographer Bradford Young, the film’s Best Picture win with the National Board of Review, and just how many people actually watched Triple Frontier.

Topics also include the value of nail acting and coat acting, this current season of Drag Race All-Stars, and who might have been second place to Patricia Arquette in 2014.

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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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One year after winning Best Actress for La La Land, Emma Stone returned with an even better performance but faced even tougher competition. In Battle of the Sexes, the recent winner starred as Billie Jean King as she faced off Bobby Riggs (played by Steve Carell) in the famed titular tennis match. Directed by Little Miss Sunshine duo Jonathan Dayton and Valerie Faris, the film had a warm festival and critical reception before quickly underwhelming at the box office and hung on with mentions for Stone and Carell during the precursors.

But Battle of the Sexes was quickly put on the backburner as two of Searchlights other contenders became Best Picture (and Best Actress) heavy hitters: The Shape of Water and Three Billboards. This episode, we discuss some reservations about the film and praise the work of Stone, who go on to again outdo herself a year later with The Favourite. We also discuss Dayton/Faris’ Ruby Sparks, Billie Jean King as that Oscar season’s Real Philomena Lee, and Sarah Silverman as a stealth player.

Topics also include 2017′s Supporting Actor fifth spot in flux, the Original Song race, and hot nepotism with Louis Pullman.

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It’s time for yet another long-promised episode in This Had Oscar Buzz lore, and also from a Pulitzer Prize winner! Adapted from Jane Smiley’s novel (which itself was loosely based on Shakespeare’s King Lear), A Thousand Acres cast two-time Oscar winner Jason Robards as one town’s beloved titan farmer and a trio of dynamo actresses as his daughters: Jessica Lange, Michelle Pfeiffer, and Jennifer Jason Leigh. The daughters inherit the farm as their father’s dementia starts to take hold, leading to a struggle for control of the farm in the shadow of revelations about the sexual abuse they endured at his hand. Though the film netted a Best Actress nomination for Lange at the Globes, the film’s harsh critical drubbing pushed it out of Oscar’s view.

This episode, we get into the film’s shortcomings while discussing how it might have been more kindly received today. Also, Pfeiffer is the latest performer to join our 6 Timer’s Club while we discuss Lange’s career resurgence thanks to Ryan Murphy and Leigh’s long road to her first Oscar nomination after several attempts in the 1990s.

Topics also include the films of director Jocelyn Moorhouse, Ving Rhames passing his Golden Globe off to Jack Lemmon, and our Best Actress pick for 1997.

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