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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With Saturday Night currently in theaters, we are revisiting the films of Jason Reitman for one of his biggest flops. Adapted from the novel by Joyce Maynard, 2013’s Labor Day casts Kate Winslet as a grieving mother who falls in love with the escaped convict (played by Josh Brolin) who hides out in her and her son’s home. The melodrama was something of a creative pivot for Reitman, but received poor reviews at festivals before stumbling towards a qualifying release. A Golden Globe nomination for Winslet was the end of the awards road for the film.

This episode, we talk about what makes the film so frustrating and Reitman’s recent output. We also talk about Brolin after his Oscar nomination for Milk, Winslet between her win for The Reader and nomination for Steve Jobs, and the 2013 Golden Globes.

Topics also include Friendly’s, No Country for Old Men supporting performances, and Golden Globe predictions.

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We wanted to take this week’s episode to tribute the recently departed Dame Maggie Smith and finally take a look at one of her final awards contenders, 2015’s The Lady in the Van. Reprising the role she played on the stage, Smith stars as the titular lady, who lives in a van that just so happens to take up residence near the home of playwright Alan Bennett. Alex Jennings stars as Bennett, and the film examines both his evolving relationship with his neighbor and, in metatextual ways, Bennett’s conflicted feelings about telling her story.

This episode, we talk about Dame Maggie Smith’s late career resurgence and she joins our Six Timers Club! We also talk about the film’s cameo lineup from the cast of The History Boys, tributes posted after Smith’s passing, and our first Halloween watches of this season.

Topics also include director Nicholas Hytner, 2015 Best Actress, and Philo-mania.

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In 1999, director Milos Forman reunited with his People Vs. Larry Flynt screenwriters Scott Alexander and Larry Karaszewski for another biopic of an iconoclast, Man on the Moon. Rebounding from the Oscar snub for The Truman Show, Jim Carrey took on the role of Andy Kaufman and according to history, took it a bit too seriously. The film received some strong reviews and plenty of precursor action for Carrey (including another Golden Globe win), but the film proved an Oscar misfire for the twice Oscar awarded director and the still unnominated Carrey.

This episode, we talk about the industry’s (perhaps snobby) perceptions of Carrey and the faux method acting by Carrey that would later be documented by Jim and Andy. We also talk about the Alexander/Karaszewski biopic mold, Carrey’s biker chic MTV Movie Award acceptance speech, and the film’s reverence for Kaufman’s legacy.

Topics also include 1999 Best Actor, R.E.M., and “Courtney Love is in dire need of attention right now.”

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We’re back again with another episode chosen by one of our sponsor-tier subscribers from Patreon, this time with a bit of 1990s gay cinema! Thank you Lance for bringing us all to 1995’s Jeffrey! Adapted from Paul Rudnick’s Off-Broadway smash play, the concept of an “AIDS comedy” made it difficult to get produced, but ultimately unique once it reached theatre audiences. Despite playing to a limited audience on film and taking a broad comedic approach to the culture surrounding gay life in the 1990s, Patrick Stewart’s performance as an interior designer diagnosed with AIDS earned some bit of buzz.

This episode, we talk about the career of Paul Rudnick and the types of gay cinema that emerged in this moment of American independent filmmaking. We also talk about Stewart’s surprising lack of awards history, Bryan Batt’s performance as Stewart’s lover, and Christine Baranski hosting a “hoedown for AIDS.”

Topics also include TikTok smash videos, “start my orange for me,” and Debra Monk talking gay stuff.

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We’re back from our annual trip to TIFF and we’re giving you another exhaustive episode on all the films we saw! Topics include the newly minted People’s Choice winner The Life of Chuck, Oscar nominations we are anticipating from the lineup, the muted-mixed response to Saturday Night, Nicole Kidman back in full force in Babygirl, the rapturous response to world premiere Hard Truths, and our differing thoughts on this year’s Palme d’Or winner Anora.

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With another George Clooney film on the horizon with Wolfs, it’s time to revisit the diminishing returns of his directorial career. In the 2013 season, his WWII quasi-comedy true story ensemble film The Monuments Men was an on-paper awards magnet. With a cast that included Clooney, Matt Damon, Cate Blanchett, John Goodman, and Bill Murray as a team attempting to rescue centuries worth of art from destruction by the Nazis, the film released two underwhelming trailers before being punted into the next year. Released in February 2014, the film made much more money than you probably remember, but failed as an awards vehicle.

This episode, we rehash Clooney’s directorial career and discuss the film’s struggle in the editing room. We also talk about the film’s mismatching of its stars into pairs, Jean Dujardin’s Oscar run with The Artist, and Clooney’s reaction to Tarantino saying he’s not a movie star.

Topics also include Drunk History, Tim Walz’s summer playlist, and Alexandre Desplat.

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Underdiscussed in the Mike White oeuvre is 2017’s Brad’s Status, the story of a father reflecting on his own formative college years while taking his son on a college visit. With Ben Stiller center stage, the film examines privilege and maleness with White’s exacting but humane eye for detail, resulting one of the most emotionally affecting … Continue reading "307 – Brad’s Status"