Guess who’s back in the house?! We finally close the loop on the 2018 troubled son trifecta of films with Ben is Back, a grim Christmas tale of a family in the throws of addiction recovery. Lucas Hedges stars as the titular Ben, who returns home from a recovery center for the holiday, and against the advice of his sponsor. Ben’s presence is somewhat unwelcome, even with the complicated feelings of his doting mother (played by Julia Roberts), and it’s not long before the demons of his addiction come to haunt. The film lingered just outside of predictions in a competitive year before an unceremonious and short-lived December release.

This episode, we talk about the film’s portrait of the opioid crisis and the career of writer/director Peter Hedges. We also talk about the 2018 Best Actress race, the film’s very quiet TIFF premiere, and the unfulfilled potential of the August: Osage County adaptation.

Topics also include “that’s Ben,” being an uncle, and the AARP’s Best Intergenerational Film.

After his comeback stretch of high grossers Gladiator, Hannibal, and Black Hawk Down, Ridley Scott returned in 2003 with a downshift into the character focused Matchstick Men. The film starred Nicolas Cage as a conman with compounding mental health issues who is then reunited with his daughter, played by Alison Lohman. With Sam Rockwell as Cage’s partner in con, the film played both Venice and TIFF to a positive critical reception, but was ultimately forgotten by awards voters by the end of the year.

This episode, we discuss Scott’s waning Oscar chances this year for Gladiator 2 and Scott is our first director to get a Six Timers quiz. We also discuss Cage’s stretch between his Oscar win and the Adaptation nomination, Lohman’s transformation into a teenager, and Rockwell’s emergence into a beloved character actor in the early 2000s.

Topics also include the audience response to City of Angels, local bakeries, and Nutcracker and the Four Realms.

We have another episode from one of our beloved sponsor tier patrons from Patreon, this time returning us to our beloved movie year 2003! After becoming a 2002 British megahit, Bend It Like Beckham launched in the US at Sundance before becoming an early 2003 summer crowdpleaser. Directed by Gurinder Chadha, the film follows Jess (Parminder Nagra) as she secretly joins a soccer team against the wishes of her traditional Indian family. With nominations from the WGA and the Golden Globes, Bend It Like Beckham ultimately did not manage an Oscar nomination for its upbeat look at teenage womanhood.

This episode, we talk about Fox Searchlight’s 2003 lineup and 28 Days Later as a fellow UK crossover hit. We also discuss the film’s shoehorned romantic subplot, Parminder Agra’s run of prominent television roles, and costar Keira Knightley’s trio of breakthrough 2003 roles.

Topics also include international nominee Lagaan, the film’s soundtrack, and sports movies.

As is our Thanksgiving week tradition, The Ankler’s Katey Rich returns to talk about another film with indistinguishable young actors. In 2022, fans and awards prognosticators were hyped for Harry Styles to make the leap to movies and leading man stardom. Amidst the gossip for Don’t Worry Darling, literary adaptation My Policeman loomed, with Styles cast as a man caught in a bisexual love triangle between his wife (Emma Corbin) and the art curator (David Dawson) he secretly loves. The film flashes forward to their older selves as they grapple with the consequences of their actions. All that hype amounted to a film quickly forgotten between its world premiere and its Prime debut.

This episode, we talk about Styles’ disappointing and brief jaunt into films including Dunkirk and Eternals. We also talk about DWD Watch 2022, the film’s TIFF Acting Tribute honor for its ensemble, and the film’s much ballyhooed gay sex scenes.

Topics also include Brokeback Mountain, Emma Corrin’s other 2022 contender Lady Chatterley’s Lover, and the spit.

SURPRISE! By now, you’ve heard that Joe has launched Demi, Myself, & I, a film-by-film trip through the career of Demi Moore. As a special bonus, we’re giving you a sneak preview of the pod’s new episode on one of Moore’s most popular films, Ghost! And along for the ride is beloved former THOB guest, author and co-host of Who? Weekly Bobby Finger! ENJOY and subscribe for more of the show at patreon.com/demipod.

This week’s episode comes selected by one of our sponsor tier patrons over at our Patreon! The 2017 festival season brought us Chappaquiddick, director John Curran’s recounting of the titular incident where Senator Ted Kennedy was responsible in the accidental death of party secretary Mary Jo Kopechne. With Jason Clarke as Kennedy and Kate Mara as Kopechne, the film earned solid festival reviews (with even stronger notices for Clarke) but a planned qualifying release before the end of the year never came to be.

This episode, we talk about the short life of Entertainment Studios Motion Pictures and the 2017 qualifying release for the film that was canceled. We also talk about Clarke’s career in grunt roles, the film’s frustrating post-script in relation to Ted Kennedy’s career, and Bill Crystal’s Oscar hosting duties.

Topics also include vague movie titles, TIFF Galas, and Frederica Kimmel’s friend.

After Diner earned an Oscar nomination for its screenplay and the hearts of dads everywhere, writer/director Barry Levinson’s star quickly rose in Hollywood, culminating in Rain Man sweeping the Oscars. In the 1990s, Levinson had his share of hits and misses, but ended the decade with the final entry of his Baltimore films, Liberty Heights. The film tackles antisemitism and racism in the midcentury from a boomer lens with a young cast led by Ben Foster and Adrien Brody, but even strong reviews failed to draw an audience or the attention of awards voters.

This episode, we talk about Levinson’s filmography and the film atmosphere that led to this film being quickly forgotten. We also talk about Foster’s recent output overlooked by Oscar, Joe Mantegna’s career before being lost to the CBS soup, and Brody being mostly cut out of The Thin Red Line.

Topics also include Forget Paris, Bebe Neuwirth cast as a mom shortly after the Chicago revival, and retro movie chain pre-shows.

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Michelle Pfeiffer is a screen legend whose return always feels like an occasion–even if we’re all stuck at home. In 2020, Azazel Jacobs’ French Exit debuted at the New York Film Festival with Pfeiffer starring as a wealthy New York eccentric who loses her fortune and absconds to France, all while perhaps haunted by her dead husband in the form of her cat. Pfeiffer earned strong reviews for her performance, but the film itself proved grating to a number of critics and couldn’t sustain its presence as its release shifted.

This episode, we talk about Pfeiffer’s previous three nominations and the chaos of the covid year’s Golden Globe comedy nominations. We also talk about Valerie Mahaffey’s terrific supporting performance, the career of Imogen Poots, and Jacobs’ current contender His Three Daughters.

Topics also include our first thoughts on the current Survivor season, the 2020 NYFF lineup, and BAFTA’s changing rules.

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After the smash box office success and surprise Oscar nominations of The Sixth Sense, M. Night Shyamalan delivered a follow-up in short order. With a mysterious trailer, Unbreakable reunited Shyamalan with Bruce Willis for another genre exercise, this time involving a man who survives a train crash without any injuries. Samuel L. Jackson co-headlines as a frail man with ideas about what makes Willis’ character so special, and the film help cement Shyamalan’s reputation with audiences as a twist guy. But after the widespread affection for The Sixth Sense, this film proved to be something too dark and obscure for audiences.

This episode, we talk about Shyamalan’s work and this film’s slightly ahead-of-the-curve look at comic book culture. We also talk about the film’s marketing, Willis and Jackson’s underrated performances, and Willis’ star persona in the 1990s.

Topics also include the Unbreakable sequels, James Newton Howard’s score, and 2000 Original Screenplay.

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Keeping things horror adjacent for your October viewing schedule, this week we are discussing 2022’s The Menu. Originally announced as a collaboration for director Alexander Payne with Emma Stone, The Menu centers on a psycho chef and his high end clientele, who all take part in a super exclusive dining experience from Hell. The film ultimately lost that twosome but inherited Succession‘s Mark Mylod and the in-demand Anya Taylor-Joy, with Ralph Fiennes staying on as the chef. The film was a minor hit with audiences and received critical praise for its ensemble, but distributor Searchlight didn’t get it into Oscar’s good graces.

This episode, we talk about the film’s flimsy “eat the rich” satire and Taylor-Joy’s sudden ascent to stardom. We also talk about Hong Chau’s perfect line readings, other recent successful films satirizing class, and Mylod’s work on Succession.

Topics also include Fiennes in villain mode, fan culture as represented by Nicholas Hoult, and our current Halloween viewing.

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