Chapo Trap House - Movie Mindset Oscar Preview ‘24

Episode Date: March 8, 2024

Will and Hesse review the top films of 2023 in this special Movie Mindset Oscars Preview. We go through the major Best Picture nominees, give our takes on each, and give our picks for winners in the major categories, plus some discussion of notable snubs. Also, a little preview of Movie Mindset Season 2, launching April 24th. We’ll have a blog post with a full official Season 2 schedule (plus where to stream/watch/consume options for each film) up sometime next week.

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If you've seen any commercial for the Oscars, it's hilarious because Jimmy Kimmel's like, I'm hosting the Oscars, but it's one hour early, everyone. So make sure you keep your TVs tuned. It's so funny to like have to do a little disclaimer in the commercial for the Oscars. Wait a second. So like, they're starting the Academy Awards on the West Coast at like 10 in the morning So people at people back east can go to sleep. Yeah, they're starting them at 5 a.m. I think At 3 a.m. Just so that people can watch them on their lunch break on in New York the greatest city in the world number one Yeah, and we'll actually will the New York City number one

This is number two of the annual New York City number one. This is number two of the annual Chappell movie mindset Oscars preview and has a yes movie mindset We're gonna we're gonna take everyone through all of the best picture nominees this year There were some ones there were some movies this year that I really liked there were a couple of movies I loved and then there was a couple real turkeys that there was some cheers some jeers and some queers I believe bisexuals yes He's a gay guy I was talking about the lady and anatomy of a fall but

I was talking about the lady and anatomy of a fall, but So I must discuss and then we will give you our Official Oscar predictions in the major categories, you know, yes going into best documentary short feature or anything like that And but at the end they listen to the end of the episode because we will be giving you also an official preview a preview of the schedule and rundown of movie mindset season 2. It's happening folks. We've got ten new episodes coming out. There's 20 movies. We're gonna set you up lovely. It'll be premiering at the end of April. But without further ado, let's talk Oscars. do has a let's talk Oscars. Let's talk the best picture nominations. Now, I should disclose at the beginning let's dispense with the two best picture nominations that I have not seen.

So I've really really put in the work for this episode, but I have not seen American fiction or past lives. Those are the two that I haven't seen either. Okay. Well, you know what? But I can pass it along on good authority from people whose opinion on film I know and trust and respect that past lives is quite good and American fiction is quite bad. Stinko, get it out of here. I mean, actually, Catherine just did her, Catherine really liked past lives and she just did her, Catherine really liked past

lives. And she just did for discourse blog there, their Oscar rundown. And I learned from her from the people who work at the discourse who have seen American fiction that the movie ends with a clue like moment where three possible alternatives are presented to the viewer. It's like he's about to go out to accept the award for his fake book and then the movie shows you three different endings and it's like choose your own adventure to which I gotta say bullshit. It could have been worse. It could have ended with 9-11 happening. Talk about an American fiction. That's right. The 9-11 commission report. Google power seven. Watch the war change. The Warren Commission Report too. Let's get into JFK.

He had to know why we composed music because he was a communist and a homosexual. So it has a, in no particular order, with like, I mean, for me, really like, this year's Oscars, the question, the question in every Int Tinseltown is, can anything stop Oppenheimer? Can anything stop him from inventing nuclear weapons and destroying the world? The answer is no. To me, the only real race here is Will Christopher Nolan also win Best Director. See, I think the race here, there is one man who can stop Oppenheimer. It's a man who started off with a gay boyfriend and a

dream and a little stick. And he waved it around so good and so fruity that he attracted a wife and talked annoyingly to her for two and a half hours. And then she died in a very long and hard to watch sequence and then he went to the club and that man's name is Maestro. That's right, folks. It's Maestro all the way for Best Picture. It's definitely Maestro. Maestro, okay, like let's just dispense with the predictions because Maestro will win more Academy Awards than any other. Like, Titanic, sorry, the record, it stood for a while, but it's Maestro all the way down this year. And let's open up the discussion of the Best Picture nominations, the one in which I've

seen most recently, Bradley Cooper's Maestro. And Hesse, I will begin by posing the following question to you. Who left Snoopy in the vestibule? Who abandoned Snoopy in the vestibule? This is Snoopy's day. Who abandoned Snoopy in the vestibule. Who abandoned Snoopy and the vestibule? This is Snoopy's day. Who abandoned Snoopy and the vestibule? Snoopy and the vestibule. Ever since I saw Maestro, I've been trying to perfect my little bird styed voice. And it's sort of like the birdstede. It's very, oh, yes. A little bit like Tony Curtis, but his nose is all stuffed up from. Oh, and I'm Maestro's wife. Hello? Yeah?

Oh, I've been married to Maestro for years. You know, I grew up in Chile and they did the most... Is that so? They did the most wonderful things with Star Wars. You see, there was a local beer, Cerveza Cristal, and they said, they put it in the movie, darling. Like, how does it feel? It's official. Oh, well, I don't know what to do with that and don't know what to say. Okay. My honest take on Maestro is I Have seen worse movies that have been nominated for Best Picture But I have not seen any movie as bad as this that takes itself as seriously as this movie. It's pretty bad It's pretty bad. It's really the little fact like did you know Bradley Cooper trained for six years? Just for the six minute conducting scene.

I'm like, wow, did you know Bradley Cooper trained with professional gooners over six years for the six minute jacking off scene? Completely uninterrupted scene of him jacking off on camera. Oh, God. That he wants to win an Oscar for. camera. Oh God. That he wants to win an Oscar for. The trademarks Lex G, bad acting on display in this moving and favorite mugging and flop sweat going on in this film is absurd. The screenplay, when they were like showing the screenplay of that

scene of him direct, of him like conducting, and it's like the screenplay is like Maestro's conducting, the audience is in awe, the choir like feels his energy, the orchestra feels everything, his wife looks on in beauty and it's like describing everything going on around him and then you watch the movie and it just is his face the whole time. It doesn't cut away one single time. It doesn't show anything and people people are like, wow, what a beautifully written movie. It's like, yeah, it's, it's, it's, it's an absolute shoot it that way. Absolutely just spazzing out just like, and you know what has to after seeing this movie, I'm convinced that all conducting is a scam. It is just professional

musicians in a symphony orchestra. They are playing the sheet music as it is written, they are simply playing music that is their profession, and then there's some weirdo up there gesticulating wildly, sweating, acting like an asshole for like, you know, the entire performance, and then he gets all the credit, everyone applauds this guy, how have the people actually played the music? Well, I think that's something that TAR showed pretty well, that's something that I, someone who like is a conductor who follows me, told me, with that really illuminated everything, is that like 95% of conducting is the rehearsals where you're like, okay, when we go out there and play this, you're going to play this part like this, you know, and then you're going

to play this part like this. That doesn't work. Let's play it like this, you know, and then you're going to play this part like this. That doesn't work. Let's play it like this. So like the being there, like they don't even have to be there on the day of because they like have practiced and practiced and practiced with the orchestra. So like that's what makes it so funny. Like that's what was good about Tarr is that she did all the practice and then someone else took the credit.

And that's exactly how Leonard Bernstein gets his start. But he's going up there and doing the thing after someone else did all the work. Yeah, just this movie made me want to bring back Tar. We need more Tar, and we need Tar Part Two. We need Tar back. We need Tar back in our lives. This Maestro bullshit was just the most, it was so self-impressed and like two and a half hours and literally nothing happens,

nor do I learn anything about Leonard Bernstein aside from the fact that he's gay. Like that was like the- Yeah. It's just, I've never, I said I've never seen a biopic reveal less about its subject because like the 10 seconds that the actual Leonard Bernstein was on screen in Tar was about a billion times more interesting and revealed way more about why he was like an all-time great American artist in this movie. Which is just self-indulgent, tripe. Because Tar was made by a great artist and so he understood like Todd Field understands what it feels like and what the difficulties and trials of being a great artist whereas Bradley Cooper is like Wow, it must have been cool to be married to Leonard Burns

He must have freaked it in the sack And he was gay too. This guy's got everything Well, through to somebody find Snoopy. I've got simply been being a Puerto Rican gentleman in the coat room, just simply, simply going to be otherwise engaged. I'll be right back out with you in a second. No twinks, no twinks coming to the party tonight, Leonard. Oh, and okay. And also I think Bradley Cooper, did he write A Star Is Born?

Because I mean, obviously it's based on like they've been adapted into a movie about eight times already. I thought his version of Star Wars Born was pretty good. You know, it wasn't a bad movie at all. I thought he was good in it. I thought it was, I love it. Yeah, I thought it was a very good movie. This, I don't know, man,

I think he really exposed himself by choosing to write the screenplay for this movie because it was very clear to me that they were just sort of like, the screenplay was like, as you said, it's like everybody is impressed by how brilliant Leonard Bernstein is. And then like the dialogue, don't worry, I will go full commitment to these roles. We will live in them 24 seven. And once the camera goes on, just magic will

happen. And what you get is what feels like 10 hours of Bradley Cooper and Cary Molligan just tittering at each other at these like submental jokes that they're just, oh, it was interminable. It was pretty, it was pretty crazy. We were a little homophobic too. I got homophobic vibes from it. Well, I mean, it clearly made him being sort of a semi-closeted gay man married to a woman and who else has a family. That was clearly like the most important thing about him to this movie. It was the most interesting thing about him. And the only real plot in the movie revolves around that. Exactly. That's, I hate that. It sucks. Okay. Hesse, what did you make of what I thought was a hilarious scene in which a young Leonard Bernstein essentially comes out to his

future wife by dancing in New York, New York? Yeah. Oh, I kind of like that scene. And he's like, he keeps like going towards her, but like, oh, the sailors are taking me away. And it's just like, you know, it's all wordless. And I just thought they were like, again, self-impressed beyond the abilities. I kind of like that scene. That scene, I was like, I might get into this.

And then the rest of the movie from there is completely, it's a drag. It's so, I don't know, I wasn't feeling it. I wish it was more gay. Like it should have been way gayer and I would have been way happier with it. They should have done more of New York, New York. Was that New York, New York or what's the name of that? Wait, you know, the one with the bronx is up in the batteries.

I got it, I got it. Out on the town, I think. Yeah, yeah, yeah. I'm using that with Scorsese's New York, New York, or the song New York, New York. Okay. Here's another question for you about this atrocity. Why the fuck was the first third of the movie in black and white for no reason? The only thing, the only reason I could discern- It was in the past. But the whole movie, the only reason I could discern that it inexplicably switches to color

about a third of the way through the movie is that they were like, oh, that's when color television was invented. So we're going to, it's like the old Calvin and Hobbes joke about how the world was black and white until about the 70s. Yeah. No, it's true. It's true. It became in color.

I mean, even out on, even on the town is in color. So which kind of now that I think about it, kind of diminishes the coolness of that scene a little bit. Okay, how about the scene towards the very near the end of the movie where he pulls up to like, tangle whatever, listening to REMs. It's the end of the world as we know it. And right before he turns off the engine,

it's Michael Sleip going, Leonard Bernstein! That was really intense. I almost turned off the movie right there. I was like, I'm almost at the end. I have to like, well, I have to make it. It's really good. You didn't turn off the movie at that point because you would

have robbed yourself because he goes to the highlight of the movie, which is Leonard Bernstein Bernstein at the club. When he's at the club, he's going crazy at the club. He's mugging again. He's like, he's like, my wife is dead. Fuck. Yes. I can party now. Shout, shout, shout, let it all out.

Let it all out. I'm gay, fuck. I can finally suck my life. She was holding me back. She was my little ducky. I loved guessing numbers. I love we would guess numbers we were thinking of all day long. But simply now that she's gone, I'm going to commit my life to live it the way it should be lived.

Let me grab the tip of your penis and pretend it's a baton. Oh man. Yeah, I gotta say honestly, one of the worst movies I think I've ever seen that's nominated for many multiple oscaras. But I had a great time watching it, though. I had a blast watching it. It's worth a watch, if anyone is out there. So then I think from Maestro, I'd like to go to the other Oscar movie that I saw most recently and it is the most fresh in my head. This is really kind of like the polar opposite of Maestro in that it's a movie I thought was stunning and I loved it. But watching it was one of the worst experiences of my life.

I'm talking about Jonathan Glazer's The Zone of Interest. A movie I saw on Monday night, it's now Wednesday, we're as over this recording. And I still have not like washed it off my skin. It is a movie that is profoundly upsetting. Harrowing. It is like, it's a movie that really made me feel something in a really deep and kind of almost physically nauseating way.

Like watching this movie, I was like, felt myself physically revolted at numerous times. Yeah. I mean, the whole thing was really disgusting, but I almost left like the theater, the part where something about the part where the daughters are like out of the pool, dripping water, and they're reading the guest book

from all the Nazis who visited, and it's like we had such fun visiting here, and like it was just like, Jesus Christ. Something about that moment just really made me want to get out of my seat and walk Or like pace around is skin-crawling and it is it is really I think one of the most Harrowing unaffected glimpses just like portrayals of just pure evil I think I've ever seen and in a lot of respects like look how like we all know Holocaust movies They do well around Oscar time

However, this is sort of an odd one because it's in a lot of ways too real. Kind of an anti-Holocaust movie, and by that I mean it is both opposed to things like the Holocaust, but it is from entirely, almost with I think one exception in the movie, it is entirely in the perfectly sealed moral universe of the people who perpetrated the Holocaust. And now, if you haven't seen this movie, it's also completely like anti-Melodrama because it very crucially, and then it's just like, it's such a simple thing, but I don't think

it's astonishingly effective, is that it basically, even though the entire movie takes place literally right outside the gates of Auschwitz, never actually really shows you what we come to think of as like things associated with Holocaust movies. That's not to being said, it doesn't show you the Holocaust because in basically every frame of this movie there is something unspeakable happening. Just in the periphery of your consciousness or vision where if you know enough about Auschwitz you know what's going on. That being said, with this movie, its true power lies in the unbelievable use

of sound design in this movie. Glazer and the guy who did the score and the sounds for this movie do something that is, like I said, truly horrific. And by that, I mean, if you haven't seen it, like most of the movie is these like incredibly well manicured like home and garden portrait of this house that is, you know, this is a real

historical fact. These little vignettes. Right back. Pastiches. Yeah, a garden and this beautiful estate, this beautiful country home that just abuts the outer walls of Auschwitz. Literally the western ideal dream, like the dream of fascism, just a picturesque home, family living in it, like

white family, not a care in the world. And what is the Hess family, Rudolph and Hedwig, what do they, what do they view as their dream? And the answer is to move east, become settlers in the Laban's realm and farm. Laban's strong. Yeah, and like, and they said like, you know, when the war is over, we'll just be farmers. And they have this beautiful country home that is right next to just the abyss,

like just a factory of human death. And what Jonathan Glazer does with the sound in this movie is so upsetting and disturbing because in all of these pleasant garden scenes, you can hear in the background like a train chugging into a station. You hear the pops of gunfire sporadically. You hear infants and people screaming,

children crying. And then, but then like, it was weird is that oftentimes inside the Hess house itself, you're not aware whether the child's screaming is their own baby or a kid just over the wall. Yeah, and that's a function of like the way they did the sound. It took me like a till a second watch to realize this, but until I watched it at home,

but it's entirely in mono. There's no stereo sound whatsoever. It's all one channel. So everything is completely, there's no directionality to any sound you're hearing. If you read a little bit of how they made the movie, like I think Glaser just like built this, they had that house and then just set up cameras

sort of like almost hidden all around it and just recorded the actors going about their daily business and just recorded all of it. And they didn't know what was gonna be used or not, but it's just like they're kind of, I don't know, improvising or interpreting these like little scenes of domesticity, they're punctuated by these moments of just stomach churning evil and

horror like very early in the movie we see Hedwig the head of the house played by Sandra Hewler who's having an amazing year herself We'll get to anatomy will fall in a second Yes, but she just gets a bag of clothes of women's clothes and starts just sorting through it for the best of it best of a lot Including a yeah, it's oh and it's so like it really like very quickly like Disabuses itself and the audience of the notion that like oh no the family's like had no idea You know they like yeah, they're intimate because in the next scene, yeah, in the next scene, they're like, yeah, no, you got to get their

their coats are always so great. So you got to make sure when they come in, she talks about how clever they are to hide diamonds in their toothpaste. And she says, so now always check for toothpaste. And this is a very interesting point you bring up, Pessi, because I've seen this movie discussed a lot in terms of like the sort of the banality of evil shout out to John Semley, who brings this up in his letterbox review of this. But I think like I got completely the opposite impression of this movie. Like outwardly, their lives appear pretty boring and vacant. But like this was not a portrayal to my light anyway, by my eyes, of bland functionaries who were sort of cogs in a machine.

I think this was a portrayal, and this is why this movie is so upsetting, is a portrayal of people who are true believers and complete sadists, who are aware of every single thing they were doing, and believed in it, and believed in it. Yeah, and when the mother comes to visit and is just like, what's that smell? And then you realize like, oh my God. That's like, and then she leaves because the screaming and the like fire, she can't sleep because the fire is like burning.

Yeah, you can literally see hell out of the window. And like the way the shots are composed in this movie, it's always just in the corner of a window. You can see smoke rising, or you can see a fire, or you're just hearing gunshots. It is, like I said, I profoundly, profoundly upsetting movie. Jonathan Glazer is a director who started out with one of my favorite movies of all time. The profoundly unnerving but also extremely fun and entertaining sexy beast. That movie is an amazing movie because of Don Logan and Ian McShane, Ben Kingsley and Ian McShane is deeply unnerving. It goes crazy.

It's deeply unnerving as you see this guy's life turn to a nightmare, but it's also extremely funny entertaining movie. Then his next movie is Birth Under the Skin and Now This, have just gotten progressively more and more unsettling. And he's just boned his skill down to a fine point of just extreme discomfort. I re-watched Under the Skin like two nights ago, and I really forgot how good it is. That was like damn. Oh man. This is so sick. That movie contains one or two of just about the most frightening images I've ever seen in a movie.

Yeah, it's really upsetting. And the zone of interest is even more upsetting, if you can believe that. It's like one of the most upsetting movies I've ever seen. I suppose we should announce to anyone listening, this will be a spoiler heavy episode. So if you don't know how World War II turned out. I mean, spoiler alert, the Holocaust happens. You don't know how World War II. But I did want to ask you, Hesse,

what you made of the very end of the zone of interest. And then the small jump to the future, and a scene that portrays basically the cleaning staff of the museum at Auschwitz just vacuuming the floors. Well, I think that, I mean, the zone of interest obviously based loosely based on a, very loosely based on a book by Martin Amos and in the book there are several scenes of like, like 90% of the movies from the Nazis perspective, the other 10% are like these Sonderkommandoes who like actually clean the gas chambers.

They were the Jewish prisoners who were allowed to live a little bit longer, but to work as capos essentially. Like, I mean, that's where the slur comes from. But like the one uprising at Auschwitz was pulled off by the Sonderkommandoes themselves. It was the people with literally cleaning out the gas chambers and putting the bodies into the ovens. The worst fate, like one of the worst fates imaginable, like in human history, truly.

And like, I think that it took, I think the movie took that concept of like cleaning the area and like, and was like, that's just un-portrayable. Like it's so upsetting. It would be cheap in it and almost the whole movie about it, how it doesn't show you exactly like what we think of as the Holocaust, just just the outskirts of it, the very, very unlimited perception. And I think that the ending of the movie and like the lead up to that part is the main guy. What's his name again? Rudolph Hess.

Yeah, Rudolph Hess like being no relation. The Hessif family moves into a charming Polish countryside home. No, no, no. No, no, no. Your family was fighting for Mussolini, not Hitler. Yes, yes, yes, yes. But my, no, it's him realizing at that big party, he can't stop throwing up,

he's going down the stairs and can't stop throwing up. I think it's because he's realizing how history will see what he's doing or he's getting kind of... So unconscious premonition of the future of like when this is all just recorded history now and he is also a part of history the actual Rudolph else was executed in Poland for war crimes following the liberation of Auschwitz so you can hold that close to your chest after seeing the movie of which in that party scene

in which he confesses to his wife he couldn't enjoy because he was thinking how to gas the entire room of people who are all members of the Nazi high command. I knew he was doing that too. He was judging how high the ceilings are. Exactly. When he was looking around the room,

I'm like, he's wondering how to gas these people. Yeah, but. I was like, but was it Rudolph Hess in the movie? Because I thought he didn't, isn't he the one who went crazy and tried to defect to Scotland? I think that's a different guy, but this was a real guy who was the commandant of Auschwitz. And in that party scene, which has come to the end of the movie, I just in my American brain that's been saturated by movies, all I could think about was like how badly

I wanted Lee Marvin and Charles Bronson to just kick down the door with grease guns And just go yeah But like that's a comforting fantasy about that we that we have about war and World War two Mainly because it didn't really happen to us We were just kind of intervened in it didn't happen in America Or really two Americans outside the people who you know were Volunteered or drafted to fight in World War two, but yeah like I just I Would have thought if the movie had ended in the present with the cleaning staff of like Auschwitz as it exists today

I would have thought mmm a little bit on the nose I would have like it would have turned something for me But the fact that it cuts back at the very end to Hess in that darkened hallway, retching to himself and then walking off to go carry out the Hungary operation, which oversaw the extermination of some 700,000 Jews from Hungary towards the end of the war, is just, it was stunning to me.

I couldn't leave my seat. The score that ends the movie sounds like the screams of hell. I don't know what I can say more about ends the movie sounds like the screams of hell. I don't know what I can say more about this movie other than like, it's gonna fuck me up for probably the rest of the year after seeing this one. So it's probably one of the best movies I've seen this year or like in the last couple of years.

But steal yourself before watching it because it is not fun. I think it, like, gone to my head. It's my pick for best picture. If I was picking the Oscar. I might have, I like gun to my head. It's, it's my pick for best picture. If I was picking the Oscar, I might have to go movies. I mean, I guess it's like, I saw it the most recently. So it's the most powerfully in me. But to me, it would between, between that and killers of the flower moon, which are actually very similar movies. And we'll talk about that

when we get to killers of the flower moon. But let's move on. Yes. Let's move on to another movie that was just nice and that I liked a lot. I'm talking about Alexander Payne's The Holdovers. I really loved The Holdovers. I watched it with my dad and the Dominic Cessa character. Dominic Cessa reminded me so much of my younger brother and like my dad and I kept being like, oh, that's just like Sal. But yeah, I thought it was amazing. I really cried at the end. You know, I just, it's like, like you has, there's something about this movie that's like,

has that Alexander Payne sort of style of being very funny, but also very bittersweet and just sort of like, deeply felt in kind of like not a cheap way, but it just, it feels like you like, these are real people and there are just moments in it that like, deeply felt in kind of like not a cheap way, but it just, it feels like you're like, these are real people and there are just moments in it that like really strike a chord with like a memory or moment in your life. I don't know. I mean, there's something about the kind of a cold New England setting that I found very both, you know, like, sort of heartwarming, but also like a little bit, like I said, like bittersweet at the same time. It's just a perfect setting for an Alexander Payne movie.

The outdoor bookshop in Boston that they go to was like 100 feet from the door I lived in when I went to Emerson. I was like, oh my gosh, that's right there. I mean, like, yeah, it just, it just, it just, it just felt so good and right in a lot of ways, just like so lived in like the sort of bar restaurant They go to with all the old bar signage and like all just like the street scenes of what Boston looked like in the 70s And just this New England like winter landscape. I just I really appreciated and I wondering if if you Connect with an interpretation offered that I did never considered at all watching this movie

But our friend Rob, Rob responsible, he said that this is one of the Rob Franco, baby Bobby Franco. Rob Franco, he said that like when he saw the movie, he got that this was one of the best movies made about COVID while not by not actually being about COVID. And I have no idea if that was intentional on the filmmakers part. But when I read that, I was like, man, like that movie really does conjure the feeling. I mean, like, because it is literally about being, you know, like inside with nothing to do and isolated.

But it's just sort of like the whole feel of the movie, of this kind of like time without time. And like you're observing the passage of time and you don't have any really control over it, but you feel like nothing's happening and you're stuck and nothing is changing. Yes. No, that's so true. No, I totally felt that. And another thing that really blew my mind about this movie is that it was shot on digital, I think. Really?

I think so. Even if it wasn't, I was like, oh, I thought like making movies look like movies from the past was a truly lost art because I haven't seen a movie that takes place in the 70s in so long that actually looks like a 70s movie. Yes, yes. I think it like a series of the speech actually pulled it off. Film grain or just what it looked like. What it sounded like, dude, the The audio is a huge part of it. Oh, and the song it opens with is so like heart, heart, just pulls my heart strings.

The Silver Joy, it's called, the song with the opening credits plays under as you see like this New England boarding school and these little scenes of people walking around and going to class. And I don't like, compared to Alexander Payne's other movies, like of which I pretty much all adore. I don't know if compared to Alexander Payne's other movies like of which I pretty much all adore I don't know if I there's ever been a single bad Alexander Payne movie that I've seen I mean

I think they're all fucking fantastic I thought this one was a little bit more or I shouldn't say more I say a little bit less How should I put this nasty than some of his other movies which are like, you know Yeah, like the Brassica or about Schmidt for instance his sort of his Midwestern, which are like, you know, like Nebraska or about Schmidt, for instance, his sort of his Midwestern plain states movies have a real bleakness, not just in the landscape, but in the content of the election. Yeah, election two is unbelievably bleak and upsetting. Yeah, it's one of the funniest movies of all time, in my opinion.

But it is like, yeah, the horrible desperation of these people's miserable fucking lives is like, is that that's kind of like his bread and butter. But I thought like he balanced that in a toe. I thought he balanced that in the holdovers of the real warmth and niceness that I thought was like an interesting color to add to his palate. Mm hmm. It's it really is amazing.

I really loved it. It's it's definitely one of my favorites deserve the knob. color to add to his palette. It really is amazing. I really loved it. It's definitely one of my favorites. Deserve the Knob. Yeah, a nice movie to see with your parents or to like make you think of your parents, you know? Yeah. For Christmas, I got my dad a copy of

Meditations with his gift. Nice. It's the book recommended by Hannibal Lecter and Paul Giamatti's history teacher from this movie Yeah, when he reveals that when they all open their presents for him And it's all just copies of meditations and later in the movie you see that he has like three boxes full of them It's so funny, but and we'll talk when we get to the best actor But like what a perfect role for Paul Giamatti too.

I mean, like the perfect, to see him back in Alexander Payne movie, like from sideways, which is like one of the best movies. I love sideways. It's just such a heartbreaking, funny movie. But to see Paul Giamatti back in this a little bit older and just playing a character who like, yeah, like this, a classic Alexander Payne character

who's just kind of stuck and his like, their life has really ceased to change or like they feel in control of a smelly wall hide. Yeah, he's smelly, goggle-eyed asshole who no one likes. And like over the course of the movie, like you really start to like him and at the end, he really like he does, there is hope. There is change like at the end where he chooses to leave his job and help the kid Rather than be a hard ass and and and screw him over

Yeah, and the like tearful goodbye with the kid is so like so little sad, but so much You know felt it's so beautiful Okay, hold over as we both adored moving on to another movie that I know we both liked This is probably this is probably a very much talked about movie Certainly one of the most memed movies of this Oscar season. I'm talking about anatomy of Yeah, I loved anatomy of a fall anatomy me of all this was a again a movie. I was expecting to be very kind of dour and a heavy lift. But no, it's actually it's it sort of zips along as a this sort of methodical legal procedural.

But it's one in which, okay, let's just dispense of this right off the bat because I've heard a lot of people's analysis of this movie or what they think it's about and that I fundamentally have to part ways with. I in no way shape or form think this is a movie about a woman who kills her husband for being fail. I just I don't think anything about the movie. If you think that that's what this movie is about then you'd have to then you'd have to think that like this is a portrayal of one of the coldest psychopaths ever put on the film who's able to lie to You hate women. You hate bisexuals. You hate women. Yeah. You're biphobic if you think that. You're straight up biphobic, plain and simple. I really like this movie. I like that it's a legal procedural, but like I said,

like I think like good legal procedural, it's not really about guilt or innocence. It's about this quality that like, if your life had to be like, if something happened and like you're a full Accounting of your life and behavior had to be rendered in public like let's say in a trial Then really like the truth of it is just what's been observed by other people and like yeah And like all our actions are like like panes of glass reflecting at each other casting their own light and shadow kind of and that like And that relationships in particular, marriages, or any relationship, especially romantic relationships,

are really like a locked box that is kind of only accountable to the people inside it and can't really be viewed or judged by outside parties. So like in this case, you know, her husband takes a spill out of the window of the attic of their chalet in the French Alps, smashes his head, dies. And, you know, and from there she gets a hot lawyer. Will they want to get a past a pony lawyer, which is the new term that my friend Jen invented for a twink who's past his prime.

A twink who's a little too old to be a twink anymore. And I what I loved a part, one of the things I loved about this movie, besides the actual best actor turn of Snoop, the dog, one of the things I loved is the way getting to see how the French court system works. Oh my God, Hessa. Because apparently in French court, you can just be in the audience and stand up and be like, I got something to say. And then one of the five judges can be like, let's hear a man.

I want to hear it. I kind of want to hear what this guy has to say. That's all right. Catherine and I had the exact same reaction having been, you know, programmed by years of watching a law and order and what a trial was supposed to look like. But like in France apparently, a trial is basically like a big conversation in which any party can interject at any time to just be like, yeah, hey, like actually I got a different spin on this. Hold on, let me spit something real quick. A trial is like a wake in France.

Anyone else have anything to say about the person? Before we send him up the river? And then also, I love the guy who played the prosecutor in this movie. I mean, there's a lot of like great performances in this movie. The prosecutor was really good. But like, what is this? What is it? Who is he? What is this?

Who is he? Fucking Robespierre? He's like, my favorite part of the movie is where he makes an issue about the misogynistic content of 50 cents PIMP, of which if you don't, if hearing a steel drum reggae remix of the beat to 50 cents pimp sounds like something that might annoy you, then skip the first 10 to 15 minutes of this movie, because you're going to hear it a lot. It plays a ceaselessly, and it's so good.

It's kind of like what the first scene is about kind of, is that, hey, this song is really kind of annoying. And it's like, if anyone's racist, I think it's the husband, because he just took out the words No and like yeah like and the prosecution of the the wife in this movie played by Sandra Hula is I think really kind of a witch trial because this is France and in France Wife court the rules of wife court in France state that if you're a man, you can be a complete piece of shit. And you are always innocent. But if you're a wife whose husband even just like kills himself or fucking trips on a tennis ball or something,

you're going to prison. You're going to jail. You're going to life jail in France. And wife jail is not a fun place to be in France. Let me tell you. You find the baddest wife on day one and then you, I don't know, hit her with a rolling pin to let all the other wives go. You find the Sandra Hewler in there. You find the Sandra Hewler from Zone of Interest in there. You bring it up. We need to talk about Sandra Hewler because, look, Lily Gladstone is almost certainly going to win Best Actress and deservedly so. But holy shit, between the zone of interest and anatomy of a fall, Sandra Heuler has

turned in, and basically an Academy Award worthy performance in three different languages, German, English, and French, which is astonishing. It's so crazy. And in anatomy of a fall,, like the language barrier is like is used to great effect. And it's sort of a question about like when she chooses to speak French versus English is made to be like a big element of the trial. And also for you as the viewer determining how credible you find her, because really all we get of this story or like what happened is her is her say so. And that of her blind son.

Yeah. Who cannot be trusted. That kid, that, he was the real villain of this movie. What he did to Snoop? What he did to that dog, Hessa? He tried to kill Snoop. He almost killed Snoop. Believe me when I tell you, I was struggling in the scene

with where his tongue was like lolling out of his mouth, his eyes were all going crazy. I was like a snooped eye. I was like, no, no, no. We gotta put this kid to death. We gotta put this kid, give this kid the chair, if a snooped eye is the guillotine, it's France. Got a gold school.

Here's another thing that I think we can all agree on. Look, Sandra Hewler's character did not kill her husband in this movie. He either killed himself or it was an accident. But I think we can all agree the husband probably deserved to be killed for being an absolute fail. For being an absolute loser. A total failure. A total drip.

He sucked. You know, blinds his son, complains all the time. You know, blinds his son, complains all the time, you know, is annoying. And then plays can't even fix the house without falling. Because I think it was an accident. I think he fell on accident. Secretly records conversations of his wife bodying him in verbal combat. But like, it's just like, I thought what I really liked about it is like, for instance, in this, the one scene where you actually really hear from the husband is when they play a recording that he

made the night before he died of like a fight with him and his wife where she like, she eviscerates him from how fail he is. And then like, there is a physical altercation between them that cuts away from being like a film portrayal of that fight, which is the only time you hear the husband actually speak with his own words, which is very important. It cuts away to her in the courtroom and them listening to audio of what is a physical altercation. Yeah, you can hear hitting and slapping and like grunting. And she admits to slapping him in the face once or twice. But then like everything that happens after is like, she said it's him hitting the wall

or hitting himself in a fit of rage. And I thought that was great. Which listeners, he was asking for it. The first of all. The roast was burnt, all right? Yeah. But I think that was very interesting because it's giving you the viewer only as much

as a jury could possibly know. Because you could hear his words so that it portrays him as an actor delivering them. But as the fight itself, if they showed you one way or another, actually showed you what happened in that fight, then it would render like you would have an objective judgment on what occurred. But by cutting out of that and only hearing the audio, it becomes subjective. And the way it maintained the total ambiguity that exists in a trial, I thought was very interesting. But that being said, if you were on that journey

and voted to convict her, you should be sent to jail yourself. Because the prosecution did not even come close to establishing a motive for why she would kill her and my husband at all, outside him being annoying. The motive is like he sucks and she's crazy. She's bisexual. That's like one of their...

She has sort of a pseudo open marriage where she has sex with women and then she had some sexy grad student over a day of... She was talking to a lady that day. This is France, this was like in countries that don't have freedom. Yeah. Or don't they have a... isn't it you're guilty until proven innocent in France? I think it literally is. I think it literally actually is. Get Jack McCoy over there. They need to have another revolution. They need to have a real

legal system. But you know what? It all worked out in the end because she is acquitted. And Justice is served in this movie. But yeah, like I said, I thought it was a... Just a very well done, just like airtight, fascinating look at you know The unknowability of relationships specifically, but like also the lives of other people. Yes Absolutely. All right Moving on. All right, let's talk about the big The big the dueling movies of the summer Barbie and Oppenheimer. I guess let's start with Barbie. Barbie, I just like, you know, I was good enough for me. It was a fine movie. I didn't hate it. I loved it. I had a fun

watching it. I mean, let's see, like I liked obviously Ryan Gosling. He was the highlight of the movie, but like Will Ferrell, Will Ferrell's character, that was some Ray of Perlman showing up in it. I mean, it was a... I thought more of the movie should have taken place in the real world, it should have been more of a fish out of water story. I thought there was more, but the stuff in Barbie World, I guess it looked cool. See, I love when the thing about the Will Ferrell parts that I loved is Jamie Demetrio playing his kind of assistant, like one of the CEOs and delivering two of the the two funniest lines in the movie that are

both definitely improvised, where they're talking about like what the next big thing for Mattel could be. And he says, a podcast hosted by two wise trees trees and a thousand young fathers singing in a chorus and I just love those two lines and I think about a thousand young fathers singing in a chorus all the time But I really liked it. I thought it was cute. I liked all the Barbies I liked all the musical numbers the kens. It was very colorful, very like just good old-fashioned clean fun at the movies and the end of Evangelion style ending. It's very literally very end of Evangelion style. Try, try as you might. You're not going to get me to be a hater on this movie. You're

just going to just sort of dodge that like bullets in the matrix. And let's move on to Oppenheimer. And Harry Neff was really good. Oh yeah, I would just like to take this moment to say the best part of the movie by far for me was actress Harry Neff. Please come on, movie mindset. Yes. All right. Let's look at Oppenheimer. Okay, so like this is the chalk pick for just about every category And you know what god bless him. He deserves it. I thought up and Hymer was great. I really liked it I loved it. I loved it I was losing it and I think it's very funny that

Oppenheimer is getting all this acclaim because like so much of like the style and like what he does and like the craziness was done like times a hundred in blonde but it was just so much crazier and more unpalatable in blonde that like people were like oh blonde is horrible but on May 26 you're having sex with Charlie Chapman then on May 27th you're not tell with Charlie Chapman. Then on May 27th, you're not. Tell me, what was it? Were you yes or no?

Oh, Charlie Chapman's in the room shaking in the background. Yeah. Did Jack Kennedy force you to get an abortion? Yes or no? Oh, my God. Oppenheimer was amazing. The silence of the bomb going off, the incredible, like the crescendo to that silence, and then like him walking into the room and the noise of everyone stomping.

I thought the way they did the Trinity explosion as sort of an anti-climax was really well done. Because like everyone, you're waiting for it and then you're like, oh, that's it. But like, the knock on effect of it, because because a third of the movie is still to come. And it's just like the way he underplays it, but the gravity of it becomes more and more apparent. And the very first shot of the movie, practically, is what I thought was the real money

shot of nuclear devastation, of this almost molecule-like sun forming on the surface of the planet. And then of course, all of the depictions of atmospheric ignition, which to me was the most fascinating part of the movie, is that at a certain time in the Manhattan Project, they determined that there was like a very small possibility that by detonating a nuclear bomb that they would end all life on the planet. And they were like, yeah, let's do it, they would ignite the atmosphere and kill everyone on Earth.

Well, we could do not do it. And they were, and that was my favorite. Maybe my favorite part of the movie is when it's raining and Oppenheimer is in the little shelter. They're waiting to do the test. He's in the shelter with Matt Damon's character. He's like the shelter with Matt Damon's character, who's like the general in charge. And he's like, what was the one scientist saying about atmospheric ignition? And Oppenheimer is like, oh, it's silly.

Well, there's like a point three percent chance that it'll kill everyone. It'll kill all life on earth and destroy the world. And the and then the general is like, you could see on his face, he's like, what the f... And then they're like, oh, it's the rain's letting up. We're gonna be able to do it soon. Matt Damon's character is the general put in charge of the Manhattan Project because he was the one who built the Pentagon. And imagine like, they're getting ready to lay the last brick on like the world's biggest office building. And they're like, general,

just real quick, there's a small possibility that this is overloaded all of Northern Virginia and it will sink into the ocean if we've had one more brick, a small possibility. And he was like, yeah, let's go ahead and do that. But hey, at least the Nazis would die too. I, you know what, people say that Benny Safty's accent and performance is bad and opp-

Who, point them out, put them out with them out Point these ops. I didn't see that at all. I thought he was great I drew I he tore he was so good the scene where they watched the Trinity test and he's like caking his face and Sundtand lotion and yeah, but some those goggles and looks like a butter ball from a hellraiser Yeah, one of the center bites ball from a hellraiser. He looks like one of the Cento-Bites. He's doing the chattering. Great, great cast. I love seeing Josh Hartnett back in the movie.

Where do you been all these years? He's a bigger hunk than ever. And now he's got a little maturity to him. Yeah. Hartnett was great. Also, Casey Affleck was fucking fantastic. Casey Affleck was terrifying. Really scary. His character is lipless. Fantastic case he a flick was terrifying really scary Lpless is a lipless fake grin was so

Like scary. He's so good at doing like the most unsettling smile You've ever seen plays a guy who's like like high up and like military intelligence whose parents were white Russians a guy who's like personally executed communists and traders, and fucking Achillean Murphy as Oppenheimer has to go into a meeting with him and just be like, okay, just to clarify and set the record straight. Yes, my good friend who's an agent of the Soviet Union approached me to ask about what's going on at Los Alamos and if I could potentially pass secret. But it's not a big deal and I won't tell you who it is. But you know what, like I didn't do it, you know, okay. So and I don't know it.

And he's like is like staring at him. I just started with these dead eyes and this like teeth, like small toothed grin. The tiniest thing you've ever seen. Somehow they used prosthetic teeth to make his teeth smaller than nor. They gave him baby teeth and like then like as the scene's going on, it's like him telling Matt Damon like, yeah, this guy came to talk to me and I told him all this stuff. Matt Damon's like, you told him that? Now, uh, so here's another- another big thing about this movie, and sort of like odd interpretations of this movie. Did you find that there was anything

in this movie even slightly ambiguous as to the morality of using nuclear bombs on Japan to end World War Two? Because I didn't. No. Yeah. I didn't see that at all. I don't think so at all. I think it was an unspeakable war crime that's almost unparalleled in human history outside maybe the zone of interest. But man, as they show in the movie, Hitler had killed himself a month or two earlier. And they're like, why are we still doing this?

The whole point of doing this was to do it before the Nazis did. That was the one shred of what I think is justifiable to create an atomic weapon. But they were like, why are we still doing this? And he's like, don't you care about science? Yeah. And then it's the Benny Safty's character is like, don't you care about science? You know? Yeah. And then it's, it's the, uh, Benny Safty's character is

like, well, what if we, we got to start working on a bigger one? You know? The H bomb. Yeah. And, oh my god, it's so good. And like, I don't know, like this, this to me is like, I, this is the Christopher Nolan, like this is like what he's best at creating these big, kind of like, they're historic, they're epic, historical epic, but it's really more of a historical procedural. And I think his movies are sort of admirably restrained in melodrama and these sort of clockwork constructions of ideas and people and time and place. And I think it just like, I think it came together beautifully in this movie. I think it covers a lot of history and people and it does it in a very brisk way. Maybe it got a little over long

at the end, but I'm not even going to slide it for that. I thought I'd rewatch it since then. I don't know where I would cut from it. I really liked it. It's a masterpiece. It's amazing. And one other thing I want to talk about, about because Robert Johnny Jr., I thought he was great as well as Louis Strauss, the sort of nemesis of Robert Oppenheimer. If he wins Best Actor, it would be no great crime. It would be no shame. It would be a little well one of those capstone awards that give to people for their kind of their for suffering 25 years doing Marvel movies, slaving himself to the Walt Disney Corporation. But hey, he got more out of it than anyone else did.

But I sort of said- And being in the Disney minds. I really did like the portrayal of his character, who's sort of the bad guy of this movie. And like, I think, him and Robert Oppenheimer are both Class A war criminals in my mind. But I thought- Yeah. The Robert DuVall character, his conception of Oppenheimer are both Class A war criminals in my mind. But I thought the Robert DuVall character,

his conception of Oppenheimer was, I think, essentially exactly right in that Oppenheimer should be thanking him for kicking him out of the atomic program and getting rid of his security clearance because it relieved him of the responsibility of what he had done. And that after the atomic bombs were dropped, he became a proponent for like arms control and

You know, like you know sharing sharing the knowledge sharing our knowledge with other countries that they can develop atomic energy for you know civilian energy reasons But basically I think he was exactly right about Oppenheimer's inability to like it's like, you know Like the Frankenstein thing is like the evil of the Frankenstein was not creating his monster, but creating life and then rejecting it and casting it out. And I thought like, yeah, I thought the movie was very good about like, indicting Oppenheimer for his like, you know, his drive to do something that no man had ever done and changed the entire world,

but his inability to accept the consequences or not the consequences, the responsibility for what he had done. The real linchpin of the entire movie, the thing that Einstein says to Oppenheimer, or that Oppenheimer says to Einstein when they're talking out there the whole reason Strauss like hates Oppenheimer when Oppenheimer says like you know when I came to you and I was like I Worry that if we make this bomb we might destroy the world I think we just might have and then he walks away. Yeah like Einstein's like fuck It's like so great like a mad great and the weight of realizing that it's so crazy

I really know what like and that's the thing is like they really did destroy the world because if not today or 10 years from now as long as there are nuclear weapons and there are tens of thousands of them currently in the world today the world is over like someone's going to use them eventually or at least that possibility like the non-zero chance of atmosphere ignition is always present and I think it would be better for everyone's sake if that wasn't the case. Yes and I loved also Josh Pack in it and Rami Malik. Oh two actors you love to see. All right for me the linchpin of the movie is another great cameo appearance by Gary Oldman as Harry Truman. Mr. The Buck stopped here because like, yeah, the buck really did stop here with Harry, who was, you know, like,

I, my opinion, a crass psychopath and a maniac. The buck stopped with him. They're like, Oh, this dork created this bomb for me. Fuck. Yeah. I'm going to use it and use it again because that's what the power is. And I love that shit. And he comes in there like quivering and he's like, Mr. President, I feel I have blood on my hands. And he's like, man, shut the fuck up. No one wants to hear that shit. He's like, oh, bitch. And he's like, if you ever let another fagget in here again

to tell me some shit like that, it's just a weirdo, God, I'm gonna fire you guys. If you let another motherfucker up in here talking to that gay shit in the Oval Office, man, I'm gonna smack this shit out of you But like yeah, like this wasn't like the scientists created it and they were like all it like they were like oh like you know It's just an intellectual exercise like one bomb that can kill millions of people Sometimes like no you handed it off to this fucking machine Hacied politician from Missouri who was just like oh fuck. yeah, can't wait to do this shit. And I think like one of the critiques of the movie which is first of all asking for an

entirely different movie is like this critique that like, oh it should have shown like the Japanese like devastation of the nuclear bomb is like saying like oh the zone of the bomb should have been the town in jerry. Yeah, it should have shown all the bodies and things like that. It's just like, like how literal do you need this movie to be? Yeah. Yeah. It's like, do you not understate? Can you not watch this and deduce that it was bad?

Like the scene that where he's like bathed in white light, eyes looking like a skull as he like gives a victory speech. Everyone stomping their feet and stomping their brains. Braving, screaming crowd. Yeah. And then, you know, like, he's, and perpetually haunted by, let's say, flashes of white, bright light throughout the rest of the movie. Yeah, I think it was pretty, I mean, like, again, are you aware enough of history to

do it, or at least just even if you know nothing about history and just saw the movie. Can you imagine what dropping that bomb when I said he full of people wouldn't tell okay? Yes, then I think you're sort of like I Like that Nolan allowed the audience to like be smart enough to fucking conjure that image for themselves well, that's why it's from Strauss's like perspective partially I think is because He like Nolan is like I absolved Oppenheimer like you know by doing this I'm making him sure maybe I'm making him a little sympathetic like as a character, but like yeah Maybe it is bad. Maybe I am evil for that, but I think like you know, it's a valuable portrayal and a valuable

I think it's like great. I think it's like a very self-critical and like interesting exercise, I think. The one criticism of the movie that I will agree with, too much sex, way too much smut. I mean, it is a little crazy when he's like, I've become death, destroy a world. Destroy this pussy. I like it. Woo! crazy when he's like, I become death. The story of this pussy. I do like that. Like the movie does kind of imply and backed by the historical record that Oppenheimer created Los Alamos as kind of a a swingers retreat for all the best scientists in the country. And by swingers retreat,

I mean, he just had sex with their wives. Yeah, it's just banging everyone's lives. He's like, you've got to have the best. You've got to have the best. You have to build churches, schools. And yeah, they must bring their wives. That's the most important thing. The scientists have to have their wives with them. You gotta get the wives. We're gonna build this bomb for you. Then like Matt Damon's like, all right,

bring them his wives, everybody. The creepiest general, like, they better bring their kids. No. No, no, no. Where is the school gonna be? No, no, no, no. Alright, so that's... wait, can we knock out the big ones? Alright, now let's talk about a movie. Another turkey, in my opinion, a movie that I got...

I had to suffer unbridled abuse for not liking is Borgo Snores the Most, Poor Things. Poor me for watching this movie. I thought this was a load of old toss, a bunch of absolute bullshit. I actually just realized I haven't seen this one. Okay. I haven't seen this one yet. I'm so sorry. But it wasn't you didn't like it.

I did not like it at all. I thought it was just just look very good actors in it, like Emma Stone, Mark Ruffalo, Willem Dafoe Never gonna be never gonna be sad to see them in a movie But I just thought it was all style like nothing to say of any importance It was just basically like here's a it's just it's a it's more it's more magical realism Aka bullshit and it was just like oh, it's this it's the subversive feminist fairytale And it's like what we're like you put the brain of a child inside a woman's and then watch her have

sex all the time. Seems a bit odd to me. And then like, uh, I mean, I don't know. It's basically like Frankenstein, but what if Frankenstein's monster like jacked off and fucked a lot is basically the plot of this movie? That sounds wonderful to me. Honestly. Well, I would love to watch Frankenstein's monster jack off.

Well, uh, then poor things is the movie for you. Uh, I would love to watch Frankenstein's Monster Jack off. Well, then Poor Things is the movie for you. Your ghost has got to stop with this fish island stuff. He does. It's just like it's, it's, and it's just, it's all. I did see a clip of it today and there were some questionable cuts to some fish island shots. And I was like, I mean, like it's all really nice costumes and sets and everything, but I just thought it was all total artifice. There was nothing there for me, vastly overpraised movie in my opinion, didn't like it at all.

And then finally, I think we've done, yeah, okay. Finally, we get to Killers of the Flower Moon. The crown jewel of this year's Oscar season. Killers of the Flower Moon folks. I've seen of this year's Oscar season, Killers of the Flower Moon, folks. I've seen it twice now, but it's the least fresh in my mind. But you know what?

It's still all in there because, folks, Marty, he's done it again. He's done it. He's done it again. This movie met and exceeded my already extremely high expectations for going in. Yes. I guess I'll talk about this movie, like, I think it really does make a very unsettling and upsetting double feature with the zone of interest, because in watching this movie twice now, the thing I'm most struck by, is having seen it now, like, for a second time, knowing everything that happens in it, and sort of being aware of the movie as I'm

watching it, the thing that really struck me is the way Scorsese creates these big outdoor scenes, these big sort of tableaus of family gatherings in houses or outside, they're for funerals or weddings, or the big downtown street of the town in Oklahoma that's in that movie, where it's just it's cluttered with people and there's action going on everywhere and you're sort of following people around

in it but the thing that really struck me watching the second time is how in every one of those scenes he's just showing you exactly what's going on that there is just evil happening and present in every scene just at the kind of at the corner of your eye just like a little a little bit there like the little thing you see or notice is the thing that you think it is. Particularly, fucking Robert De Niro's character just tottering around the angel of death, just doting on people and just praying over these poor old women and their kids. It's just really bone-chilling stuff in this movie. Yeah, when they go into the Masonic Temple,

and it's really like for the first time made, completely brought to the surface, like that really like took the wind out of me because I was like, oh, like DiCaprio is like, he's with them because he's a fucking room. He's all more on. I was like, damn. Well, you know, it's very similar

to a lot of the big Scorsese movies that everyone loves and knows to talk about, especially with the Caprio's character. This is a story of dumb guys doing evil and getting away with it for an astonishingly long amount of time, despite how absolutely stupid they are. But unlike

Casino, Goodfellas or The Wolf of Wall Street, there's something about this movie in the way Scorsese films it and the sort of register it plays at that is way, I mean like Greek tragedy level. There are funny moments in this movie. I don't want to make it seem like it's devoid of that humor that's always present in Scorsese, but there's something really disquieting and uncomfortable about this entire throughout the four nearly four hour run length of this movie. Yeah. There is like unlike good fellows or like casino, even like the Irishman, there's this like air of like, oh, what's going on is one of the great crimes of like the history

of the world and that you're just watching unfold and there's this just like they're like real really really bad guys because like in goodfellas they're like stealing shit from a plane they're not like and they're killing each other doing genocide each other they're not like old women and mothers like poisoning the elderly yeah there's a scene really early in the movie where it's just a montage of people who have died from alcohol poisoning.

But by that, I mean alcohol that's been poisoned and given to them. But there's a scene of a mother putting her baby into a carriage and then the guy just like from inside the house shoots her through the chest, walks outside, picks up the baby out of the carriage and what takes it inside. And like there's no context for it. You're like, wait a second, what's going on here? It's never fully explained. But then you realize that these are all families.

These are all like white people who marry into these Osage families. It's the husband. It's the husbands that are like, okay, the Jason Isabel character. When you first see him, when you first encounter his character He's married to one of Lily Gladstone's characters Molly Molly Burkhart's one of her sisters And you don't really know what's going on with them There's always this weird unspoken tension between him and Leonardo DiCaprio That's never fully never fully explained

But I always interpret that as like Jason Isabel is already doing what Leonardo DiCaprio's character is recruited by his uncle Played by Robert De Niro to do yes, which is to marry into these Osage families and then kill all of them And they're after the same fortune. They're after the same family's fortune. So yeah, that's why which is like They're at odds. Yeah. Okay. Another thing that I really appreciate Why I think Scorsese is like the goat Okay, another thing that I really appreciate is why I think Scorsese is like the goat. It's because like, look, people complain about the length of this movie. But to me, it's just like, I don't know how you complain about because like a four hour Scorsese movie is like a 90 minute movie directed by anyone else. The way he pulls you in, the way he pulls you into like this world and narrative in his movies from the first second to the last frame and just

the narrative in his movies from the first second to the last frame and just propulsively pulls you along throughout the entire runtime. You do not feel at any point aware that like I'm watching a movie, is this getting near the end? No, yeah. It's completely, it feels like a breeze. It's like so natural and it's definitely not a cool refreshing breeze. No. A kill of the flower moon because it's very upsetting, but the pacing is still there and the watchability and the performances and the direction. It's also on point and so like quick and fast paced, but it has that, that's Corsese magic, but it's used to deliver this like chilling and horrifying Story, it's yeah, it's it's you know similar to the zone of interest it's a very upsetting movie and

Like there's really no escape from it like it doesn't really like by the end It really doesn't give you anywhere to hide and like it's this slow burn But like a steady ratcheting up of tension as Leonardo DiCaprio's character gets deeper and deeper Both into his relationship with his wife But also his relationship with the ongoing genocide that's being carried out Against wife and her people and like and his relationship with killing his wife and the the Irresolvable contradiction that's just at heart at the very essence of his being. Of a guy who like, does he know like, throughout the movie there's this like unbearable and unanswered, really unanswered question throughout the entire movie.

Is that like, how much dude does each party in this marriage know about what the other is doing? Yeah. And with the capio, it's like- And how much does the capio know about like consciously, like when they, when they give him like, hey, this is for your wife's diabetes, just give her the give her mix it into her diabetes medication it'll be fine it's just to slow her down and he's like uh sure and I think the message of the movie is that it doesn't matter it's like so evil like either way it's like there the culpability is there and like the zone of interest it's like you can play dumb all you want, but like there's no,

there's no escaping what you're doing or there's no- You know, you say that has some, that's like, you know, it's a very profound idea, but it just makes me wish that Hollywood kind of, I don't know, did movies that were relevant to today and the present, you know? I know all this happened in the past, but I don't really see any analogues to like the current moment or our lives? Certainly not. Yeah, no, definitely nothing going on similar in the world today. Definitely nothing relevant or poignant to this, to this story or the zone of interest or, you know, any of that stuff. Or maestro. Yeah, or maestro. Definitely no maestro is working at work in the world today.

I guess I'll also get, okay, we talk about the very last scene of Killers of the Flower Moon, which I thought was again, when that movie ended, I was like stuck in my seat. I was frozen. I couldn't move because I think like the very last scene in which it's like years later, and it's now a radio play. And which is a real thing that was this is a real radio play about the Osage murders Oh, I didn't even know that and it was basically a radio play to advertise the FBI But then you see you see Martin we see Martin himself Marty walks on

And like you know, it's like it's a gut-runching end of the movie because they're talking about these murders that happen And they're like, you know old King King Hail, you know, he still writes they're going like doing like radio sound effects and they're like and then it started raining Yeah, it's like making it into like a total mockery like making it into this like totally making light of the situation Well, it's like, you know, I think Scorsese is acknowledging as a film Now what is it? What are movies? What is this movie like? As upsetting as it is, it's still entertainment. It's still a story told about the past, even a true one. But it is for the entertainment of a predominantly white American audience.

And it's despite the fact that the cuts to the audience, it's all white people. Yeah. But I thought that really shifts when Scorsese's character narrates basically the obituary for Molly Burkhart for Lily Gladstone's character And it was just like I don't know if you caught this but like you can hear Marty's voice crack a bit When he says yeah, and when she's like about how she's buried next to her daughters Sisters and mother and it's just like the scale of like just death and just like the burden that like that like like blood lines. Yeah, the blood lines just obliterate. Yeah. You can hear his voice crack in that. And then it's like, yeah, it's the shot from above scene of the drums and the

singing and yeah, like riveting. I mean, it's Garcesi. Like I just, show me where he misses. Like show me the flaw here. The dude is like, at this stage in his career, he's putting out some of the best movies he's ever directed. And that's really something. And also that like his style continues to like be the same, but like just evolve in really new and surprising ways. Cause it was like, yeah,

kills the flower moon was exactly like all these other Marty movies, but it felt totally different at the same time. Yeah, absolutely. If I could give it to anyone, I'd say Killers of the Flower Moon, honestly. It's that or zone of interest for me, and it is very telling that I think they are very similar. They're very thematically linked in terms of how we choose not to see the murder and horror that is all around us, or rather that we're actively doing. And I guess you as the audience are put in the position

of witnessing this, but pretending not to see. All right. ["The Star-Spangled Banner"] Alright, so we've now discussed all of the best picture nominees, but before we go on to our predictions, I just have a thought. I'm going to throw you a curveball here and talk about it, because I have another chance to talk to you about this. Throw you a curveball for a movie that's not nominated and it in fact was reviled upon its release

that I think is probably the best movie of the year. I'm afraid it's the chorus to, Bo is afraid. My movie of the year. I get to give you all the credit because you saw this movie when it came out. You were at the bleeding edge of people who were willing to say, no, shut up, you morons.

This movie is a masterpiece. So good. And you, I just, oh man, it took me a long time to watch this movie because I was like, oh my God, it's like four hours long. And like, you want to talk about another movie that's a fucking ordeal? I described, OK, listeners, I've described my react, like this is my journey of watching Bo is afraid. Hour one, I am cackling like Max Cady in Cape Fear. I have a big

novelty cigar. I'm slapping my knees, Gaffin. I'm having like, I'm laughing violently. And like Catherine almost was disturbed. I was like, this is the funniest movie I've seen in probably 10 or 15 years. It's so funny. It's the Jackass movie. This has a the scene in which he is like his apartment has been despoiled by the vagrants his apartment has been despoiled by the vagrants that were like sort of a gatherer around his apartment. And then he finally has like gotten back into his house, had the call had the amazing telephone call with his mom. Yeah. Oh, wait, does that happen after? No, no, yeah, that happens. No, it's yeah. No, no, no, the way.. So he has, he has a call with his mom and then the call with the UPS guy, where the UPS guy says, your mom is dead.

It's the lady here without a head. It's the lady here without a head. The cross by Chandelier. And he, okay, has the scene where after all of that has happened, like the, the culmination of the first hour of the movie, of it getting worse and worse, like the, just the subtle lead up of how it gets worse and worse. But first the notes about music from this apartment. Yeah.

And him getting locked out of the apartment. Warning brown recluse. When, uh, yeah, when he takes the pill without water and starts looking up online, like side effects, taking pill without water. And the first Google result is remembering Jonathan. The warnings about the poisonous spider in his apartment. The way he sees the way he props open the outer door to his apartment, then just sees one, he's another, and then just a

stream of just hundreds and hundreds of vagrants, insane vagrants and the mentally ill just just troop into his apartment building. And he's going, no, no, no, no. And then he runs across and then he gets locked out of the entire building. All that happens. And then the scene where he takes a bath. Yes. And looks up and then there's a man like clinging with his like feet and fingertips to his ceiling.

It was then bitten on his face by the poisonous spider and falls into the bathtub with his like feet and fingertips to his ceiling. It was then bitten on his face by the poisonous spider and falls into the bathtub with his nude body and gorge testicles. I was laughing so fucking hard. It's so funny. It's like one of the funniest movies. It's so good. Okay, then hour two where he basically gets kidnapped by Amy Ryan and Nathan Lane. And they're insane daughter. OK, again, the scene where the daughter drinks paint and kills herself. That's my name. That's my name. That's my favorite line of the movie.

I was losing it. I was getting worse and worse. I was like starting to feel more and more uncomfortable. The scene where the daughter and her friend make him like smoke angel dust in the van. Yeah, and film him. Film him? The way they're honestly filming him. It was just, it gets worse and worse. But then I was starting to be like, okay, like, let's see where this goes, all right? Hour three, where they're like, in doing the theater in the forest.

Yeah, the woods and then like and then after that then he when he gets to his mom's house the whole sequence with Parker Posey by the third or fourth hour I think I was just crashing from low blood sugar and I was like fuck you fuck you fuck you fuck you Ari Aster the penis monster in the attic I was like goddamn you for making me watch this shit I can't believe this isn't over yet how the fuck is this movie still going on and then when it ended I was like, God damn you for making me watch this shit. I can't believe this isn't over yet. How the fuck is this movie still going on? And then when it ended, I was like, I wanted to kill myself. I wanted to kill myself in the movie ended. I barely got to sleep that night. But when I woke up the next day, I was just thinking about the

last image of the movie of the capsized boat. Yeah, just to capsize boat. And I was like, God damn, that was a motherfucking movie. That was amazing. And I give like for all the things that I was screaming at Ari Aster about, I was like, I give him just absolute props for willing to be that vulnerable in a movie. Unlike Bradley Cooper, who unintentionally exposes himself in the maestro, Ari Aster in Bozegrade puts out everything and like you could say, oh, it's cliche. It's just all about the mother or whatever. No, fuck you.

Freud was right. This movie was right. And the fact that he's willing to put, just basically render himself naked and repulsive. To have the balls? Literally. He makes a movie that makes it so that no woman will ever want to fuck him ever again. Yeah, because he'll die. Or she or you will. I don't know what it was.

Yes. No, it's so good. I was losing it in the theater, and I left and immediately went to dinner and ran into my friend that I was with hated it, and then my two friends that I ran into at this bar afterwards hated it also. And we're like, thank you for standing strong as in the face of your pressure.

And I rewatched it again like recently. I just recently rewatched it with Matt, by the way. This was two weeks ago. Who would? Matt loving it. Because like, it's one of the first things we talked about was Bo is afraid, because he was like, because Matt is a huge lover of the Darren Aronofsky film Mother. Oh, me too. And he was comparing the way those of these movies were reviled by critics.

He was like, fuck you, you were all midbrow, know nothings who don't recognize an artist doing real shit when they give it to you. Well, everything you say you want, you are in fact cowards and you know nothing. Yes, it's so good. It deserves best picture, truly. Honestly, I think it was funny. The third movie that I say deserves best picture, fourth. Honestly, it was maybe my favorite movie of the year. And like a movie that made me feel

something, but that was like torturous to watch at points and you know what? I already asked her Hereditary and Midsummer were good and frightening, but they do not come close to how terrifying this movie is. Yeah It's and it's so funny too. It's like it's also hilarious and Joaquin Phoenix is A star is so good in this horse. He should fucking win Best Act. Take back the Oscar for Joker. Or basically just David Zaslaw or Tim Apple. Erase Napoleon from existence. Just delete that movie.

It's bad. And his performance in it was ridiculous. But holy shit is he could- This movie- I mean, Joaquin is always good. I'm not hitting old Joaquin. But he is ex- The way by the end of the movie, he can't even talk anymore. And it's just stuttering the entire.

It's maddening. But it's so effect. Oh, God, what a movie. What a picture. Patty Lepone. Patty Lepone. Amazing. Horrifying. Horrifying. Perfect casting. Holy shit. Maybe Elaine, the son who died in Iraq. Is psycho fucking veteran friend who lives? Holy shit. They blame the son who died in Iraq. This is psycho fucking veteran friend. He's psycho friend, yeah.

He lives in the trailer. They're like, we've got to get up his tranquilizers. They're chasing him around. The scene where they're working on a puzzle. That's just a picture portrait of their dead son. Beautiful. Beautiful. When Bo is like looking through,

flipping through the TV channels channels and one of the channels is just a hidden camera in the house and he's just like, what the fuck? I don't know what I said. And then when he fast-forwarded to the end of the movie and that's incredible. Incredible. And, you know, up there with a zone of interest, it's like hilarious whereas the zone of interest was not funny at all, but also a punishing and cruel experience to yes It's through like but man-to-man does it really take you there and it really it really makes you feel something

Mm-hmm. I don't see you in the face. Not good. Yeah, it's not good It's even the face of the giant dildo. That's like 10 feet long Brilliant um, okay, let's let's do let's do that. let's do the predictions. Okay. You got the nominees in front of you? I have the nominees. I want you to read off of the first category. Okay. The first category, best actor. Hang on. Let me scroll up. We got Bradley Cooper from Iso. Coleman Domingo for Rustin. Not a real movie, fake, fake movie. Fake movie. Okay, Rustin is of course about civil rights leader, Bayard Rustin.

This is the fact this movie is produced by Obama, means that I will not touch it with a ten foot pole. I wouldn't watch it with a blind man's eyes. But I'm guessing knowing what I know about how this movie is like, oh, they're going to take an interesting story about a communist civil rights leader and probably make it all about how he was gay. Yeah. It'll be the maestro of civil rights movies.

Absolutely. We got Giamatti for the holdovers. We got Kylian Murphy for Oppenheimer. And we've got Jeffrey Wright for American fiction. Now while it will be very hard to pick against Maestro in this category, I mean, the smart money would be on Bradley Cooper here for his bravura, brav, brave and, and astonishing performance conducting. Yeah, bold and, you know, he, I don't know if you knew this, well, but he studied for

six years. I love it. Yeah, which is for that six minutes of conducting. Usually you study for six years to be a fucking brain surgeon, not mug around in the London Philharmonic. Okay. All right. No, seriously, I think this is the interesting category to me because all once again, all the chalk, the easy odds are on Killian Murphy to win for Oppenheimer. I have no problem with that. He was fantastic. He's a great actor. I pretty much like him in everything he's in. Mm-hmm. Here's here's a thing and Jesse Hawking pointed this out. I think he's I think he's onto something Killian Murphy

Okay, usually this is the kind of role that always wins best actor. It's a real person hugely successful movie Here's here's the rub Killian Murphy. What country is he from? Ireland, okay. What's the problem with the Irish? I mean, outside the obvious. Right now, the political opinions of the Irish people, culturally, are not so much in vogue. And out of all the best actor nominees, who is the most likely to say something about Palestine if they win an Oscar? It's Killian Murphy. Killian Murphy. It's the Irishman. So, I'm thinking like taking that into consideration, I think there is a chance Giamatti swoops

in here and steals this as kind of like the heartfelt hometown pick of just the guy everyone likes and I would give the Oscar to Paul Giamatti as sort of a career achievement. You know, like a guy who just deserves it he deserves it. He's been, he's just been so good for so long. Paul Giamatti, I would love to see him win Best Actor. That's who I would give it to. But if I were a betting man, I mean, I think it's going to be Killian Murphy. If I were a betting woman, I would say, I would take the long odds Bradley Cooper, Maestro. Take Cooper for Maestro. Okay, if you place that bet now, and it's like, it could happen.

It could happen. His Oscar PR campaign has been so good right now. He's getting everyone on his side by saying things like, yeah, if a guy came in with a gun and pointed it at my kid, I don't know what I'd do. And also, I'm naked all the time. Do I love my kids? I don't know. I'm an actor. So I mean, he may win over the hearts of, you know, the Academy voters are very fickle, but they love a big performance for a big American

icon like Leonard Bernstein. Yeah. No, I think definitely Killian is the lock for this. But if I were going to play some bet, I would go Cooper. Seriously, let's let's let's both plays bets now on like any and on draft Kings or any sites that takes action on Oscars. Let's both bet the long odds on Bradley Cooper picking up best for this. Because if it if it pays out, oh my God, we could be we're swimming in it. Fuck this movie mindset podcast. We're not we're not doing this anymore. Yeah. We're cashing out. We. Fuck this movie mindset podcast. We're not doing this anymore.

We're cashing out. We're making the movie mindset movie. Who we got for best actress? Well, next up, we have actor in a supporting role. Actor in a supporting role. Yeah, we have Sterling K. Brown for American fiction, Robert De Niro for Killers of the Flower Moon, Robert Downey Jr. for Oppenheimer, Ryan Gosling for Barbie, and Mark Ruffalo for Poor Things. Okay, this is like, okay, once again, pretty much everyone says Robert Downey Jr. is going to win this, but if there's anyone who has a shot, it's Ryan Gosling for Barbie. So if you don't think De Niro is going to get it? He's got enough Oscars. Yeah, he's got a lot. He's got a lot. I don't know. I mean,

like the Vobius or Older though. That could be a dark chorus if you're looking to make a long odds bet. De Niro, sometimes Oscar likes to shine this light on some of its favorites from the past, like when Anthony Hopkins won Best Actor a couple years ago for a movie that nobody sees. So. Yeah. I would put long money on De Niro, honestly, if I was in this category. There's gonna be at least one upset, and they're usually in the supporting categories.

Yeah. So everyone, but you know, I mean, Downey Jr., I mean, come on, he's been such a team player. You know, he's such a, but it's such a company, man. It's hard for me to imagine that they're like, okay, you can be a real, you've made enough money for Marvel. You can become a real actor again. And you know what? I think he would be well deserved for Oppenheimer.

Absolutely. And they're probably, you got to take the other categories into consideration. So if Downey Jr. wins for Oppenheimer, it's more likely that Cooper might win for Maestro because they don't usually like to give it to like a bunch of people from the same movie and Gladstone is Such a lock for actors. Yeah that it takes the odds it takes the edge off for opera to Nero, you know true Often you can tell you can like often like the one upset that they give will usually lock in what you can pretty much guarantee with the other like like who's who's how's

it going to go for the rest of the night. Exactly. Yeah, I would I would lock in I would do the easy money on Downey Jr. for this one. I think I think the odds are way too long on anyone else winning this. Yeah. And it's just like it's one of those things that they always love to do like Denzel Washington for training day when they have the opportunity to finally give it to a guy who's like popular and has been around forever as sort of like, even if it's not like their best role, they usually give it to Pacino for Cent of a Woman because Pacino should have won for Serpico, but Pacino lost because they gave it to Fuck who'd they give it to that year? It was someone else. I can't remember. It's it's

But okay next we have actress in a leading role Okay, so we got Lily Gladstone for Killers of the Flower Moon Sandra Heeler for Anatomy of a Fall, Kerry Mulligan for Maestro, Emma Stone for Poor Things, and Annette Benning for Nyaad. Nyaad, it's a movie. Okay, how wait, how did we go this whole show?

I forgot about Nyaad. We forgot about Nyaad. Nyaad, best picture lock, Nyaad Oscar sweep. Okay, so I looked this up because when I was going through it, when they announced the nomination, I was like, and that betting for Nihat, Jody Foster nominated for Nihat? Nihat? What is this?

Okay, I looked it up. Okay, it's Nihat. It's an Apple movie. It's a fake movie, probably promoing an alternate universe. About the true story of a social security age woman who decides to swim from the Florida Keys to Cuba. It's a story of sort of a feat of endurance and athleticism by a woman and her swim coach. So it's like gravity but in the ocean.

It's called tides, called currents. The moon gravity. There's no one else that can nominate Jody Foster and Netbending. Both of them, like, they've got their Oscars. They got a... I don't like when they bring back these... As deserving as they may be. Can we get a little shine for people? Maybe you haven't won multiple Oscars like a Netbending and Jody Foster.

Yeah. I mean, both of them have been nominated a shit load of times, if not multiple wins. This is my other long money upset. I'm putting money on Carrie Mulligan for Maestro. Her performance was too annoying. Oh, God. If that happens... It was too annoying. You know it's going to happen. Can't you just see it happening in your mind?

Oh. I mean, I would just love to cut to like Lily Gladstone. Yeah. While she's simply marvelous to get this. She's still talking like she's in the movie. She hasn't broken my record. Totally. I've never been good in a movie. OK, is it the Carrie Mulligan is bad or that she just only seems to do bad movies? I think like I can't think of a good

Yeah inside Lou and Davis she's good in that Peter a SARS guard with called an education. I remember that was pretty good. Yeah, shame I hated that Oh, yeah drive she's a lady in drive It's like, just like, oh yeah, drive. She's the lady in drive. Saltburn. I can't believe we haven't talked about saltburn at all. That's, you know, it's horrible.

It's really bad. It's really bad. Um, but now I, I think glad stone is going to win and I hope glad stone wins. But I think the way the Oscars are so stupid that you, you know, if you're betting, you got to put, you got to put it on the long money because you know it's going to hit on one of these. And if it hits on one, then it makes up for all the other long money. Just like, like, if you bet money on the league Gladstone to win best actress, like you will

win negative money. Yeah, if you bet $10,000 on Lillie Gladstone winning Best Actress, you will get back $10 in return. $10,001. Yeah. Yeah. Okay, who do you think? Obviously Lillie Gladstone.

This is the most lock of any category, but however, I gotta say, I thought Lill Lily Gladstone was excellent and close to the flower moon But I gotta say I would give it to Sandra Hewler for anatomy of a fall that I thought she was just like I guess it's just sort of the cumulative effect of her in two movies this year But I don't know it's acting in English and French. I think is extremely It's acting in English and French, I think, is extremely virtuoso level talent. And I just thought she was like, she really was that whole movie.

I think she's a phenomenon. She was both whole movies. She was really incredible. Okay, so actress in a supporting role, we have Emily Blunt for Oppenheimer, Danielle Brooks for the Color Purple, America Ferrera for Barbie Barbie Jody Foster for Divine Joy Randolph for the holdovers and now I think I'm putting them

I think the the safe money is on Divine Joy Randolph Yeah, the holdovers and the most deserving of any of these of any of these actresses honestly Totally tour. She I would I would give it to her, but I would say if you're looking for the dark horse here, if you're looking for like to make a little money, Jodie Foster, you can never go wrong betting on her. Has she won one before? Yeah, Sounds of the Limbs.

Oh yeah. At least one, and she's been nominated a bunch of other times. Remember when Kodo won Best Picture? What? Another fake movie. Not real, I don't remember it. No one remembers it. It wasn't real. They created a trailer and no one's actually seen the movie. No Mad Land and Kota. That would be a funny producer type thing, just making a trailer

and seeing if it wins Best Picture. You know these Academy people? They don't watch these movies. They're stupid. That's a good way to bet on Oscars is like, imagine what the dumbest, oldest person you know would think about this. That's how I guess every single time. That's why I think Carrie Mulligan. That's why I think, you know, who's the first? Who's the actor? I said Bradley Cooper. Bradley Cooper. Yeah. I think that there's no way both of them win, but at least one of them, I think, might be the upset of the entire operation. I'm honestly, like, I'm rooting for Kerry Mulligan to be the best so now because of like how angry it will make people.

How will it permanently destroy the credibility of the Academy Awards? Yes, it would tear down the like complete like the entire Academy would just be a sham, seen as a sham forever. Okay, directing. We have Anatomy of a Fall, Justine Trier, we have Killers of the Flower Moon by Marty, of course. Oppenheimer by Christopher Nolan. Marty, of course, Oppenheimer by Christopher Nolan, poor things by your ghost snores the most. And we have the zone of interest, Jonathan Glazer. Now, I think they got to give it to Marty, right? No, no, they've already given him an Oscar. They're not giving it to Scorsese.

Oh, okay. It's got to be Glazer. The question is here, usually they split best director and best picture, but I just think this year Oppenheimer made too much money. I think it's got the momentum of a runaway freight train. And I think this is going to be one of those years where Oppenheimer is going to basically win almost every category it's in. I think Nolan's winning director and best picture. I think my two long picks. I think the dark course, the upset there, I think is more likely to be Jonathan Glaser than Martin Scorsese. Yes, I agree. I think, but I doubt that the Academy voters would like the Zone of Entries. It's like almost an experimental

movie in how... Yeah, but they don't watch these movies they're just old like what the sort of consensus is and like you know they're and I like you know like they just say Holocaust movie and they're like oh yeah great give me the Oscar yeah okay now here's the big the big money should I go straight to a best picture now yeah best picture you don't want to do animated short film I haven't seen any of them I don't want to see letter to a pig. 95 senses are uniform. Okay. Best picture. We got American fiction. We got anatomy of a fall. We got Barbie. We have the holdovers. We have killers of the flower moon. We got maestro.

We got oppy. We got Oppie. We got Past Lives. We got Poor Things. And we got the Zone of Interest. And I think my money, obviously Oppenheimer, the fave, Oppie is the fave, but I think the long money upset picks. Best Director Oppenheimer, Best Picture Barbie. Yeah, I was just going to say. Yeah, I might you know what I think that's very convincing. How so like yeah I just said the op-nob is gonna sweep but like they so rarely do that

Yeah, you know remember they they give Steven Spielberg best director for fucking saving private Ryan and best picture to fucking Shakespeare in love And everyone thought it was like a national duty to crown that movie as the best thing ever made. Yeah. Yeah. No. And I think this is, you know, I think you're totally right, Haasak, because I think this is the way to resolve the Barbieheimer dialectic. As the great triumph that it was for Hollywood this summer to have two American movies do that well and just be like both be so well-reviewed and well-liked and yeah they're bringing movies back I think Barbie misses pretty much everything else but I think I think it gets best picture and I think the

the real long-money pick here Maestro I really like I mean famously in our last Oscar episode my long-money best picture pic was women talking, which did not fan out well, did not pay off. You know, but you got, it's about having the balls to make some money here. We're trying to get people rich here. You gotta stand on business here. And you can't just, it's like March Madness. You can't pick all chalk.

There's gonna be some surprises. So either if Nolan wins best director, then Barbie wins best move, best picture. If Nolan doesn't win best director, then Oppenheimer wins best picture. And either way, Meistro's getting best picture. Meistro's going to win something. And it's going to be because there's no category that it's in where it deserves anything It's gonna be so it's in cinematography too like

It's like let me see what else do we have those are pretty much the main categories, right? I'm gonna be getting into like editing cinematography I'll let our listeners decide for that because We've this to be a super long episode as it always is when Hesla and I discuss movies, but we have one more very important, really like more important than the Oscars. We have one more thing to get to, which is, as you'll remember from our last Oscar special, it was the announcement of Movie Mindset Season 1. And this this year it is no different

It is now announcing the official launch of movie mindset season two which season two folks season two is here And it will be premiering on April 24th but Unlike last year we're going to give you a lot of lead-up time to catch up with us and watch these movies So that hopefully by the time the series comes out you will have seen the movies or you can watch along with us you'll have a schedule to follow as we launch on this new season. So let's just go into it let's look at 10 episodes and let's just let's just list them and this year actually we're doing a little bit differently. I have we have now splitting the curatorial duties. Half of these are Hesse selections and half of them are Will selections. And we have actually one Chris selection, but we've

varied it up this year. So actually, maybe like there's actually some of these films I haven't, I have not seen. I will be seeing them for the first time, maybe along with you. Yes, same here. Hesse has chosen to share with you. So let's get to it. On starting April 24th, the premiere episode will be all about James Cagney. James Cagney. Yes.

And we're going with basically two movies, one from 1933, the Busby Berkeley musical comedy, Footlight Parade. And and then we're gonna jump 30 years ahead in his career with with in Billy Wilder is one two three and we just see Cagney over the Span of his entire career. You just show that this little Irish sprite is not missed a beat and it is a rat-a-tat-tat Both of them are just like a joke a minute. Have any yeah They're joke a minute comedies one is a big musical the other is sort of a Cold War forest but we'll be returning to Billy Wilder in one half of our James Cagney and then we're gonna do a big musical as well and if you have not seen Footlight Parade I

highly recommend the musical numbers that end it are some of the weirdest and horniest things ever put to film. You'll be shocked at what they did in movies in 1933. But these are two, like, Footlet Prate is a classic of musical. One, two, three is a lesser known work of Billy Wilder, but still very worthwhile. Next up, episode two on May 1st is another Will selection. We are going to take that hill, Hill that is with two if the first two movies or maybe a little bit too old or you know a little bit A little bit fruity for you. We've got some tough guy. That's some tough guy. You can't watch a black and white

Yeah, we've got southern comfort and extreme prejudice-team movies. And joining us for that episode will be our friends Jamie and Josh from Sleezoids, probably the first movie podcast that I ever went on. They've been at this racket a lot longer than us, so maybe they will teach us a thing or two about this movie podcasting game when they join us to discuss Southern Comfort and Extreme Prejudice, directed by Walter Hill. All right, next up on May 8th, Hesse, do you have this? So you want to shout out your selection here? Yes, my selection here is we're going to do a return to the hawks well. That's right. We've visited him once before in his Western days, but now we're going to go a little bit further back and we're going to hit up some of his comedy classics.

And I use the word comedy very, one is His Girl Friday and the other is Bringing Up Baby, which is barely a comedy because it's the most stressful movie ever made by a human being. The baby in this movie is a leopard. It's not a baby. Yeah, it's a leopard. It's not a baby. It's a leopard. It's a baby. And for that episode, we are going to bring on John Early and Theta Hamill. Actual movie, actual movie people, people who have been in movies.

Yes, which we were in a recent movie. And like, you know, if you've been following this show, people who are in or make movies are better than other people who are not in movies or Involved in the show business So we're thrilled to have John early and theta handle from the new soon to be released film stress positions Joining us about you Howard Hawks comedy classics. Mm-hmm Next up on May 15th is a will selection and we're we're journeying into the world of 90s is a will selection. And we are, we are journeying into the world of 90s neo noir. These are, this is like the 90s are resurgence of the classic American noir genre film. And we're going to be talking about Carl Franklin's one false move and John Dahl's the last seduction.

And I've actually, you haven't seen either of these. They are both. I'm excited for this. Excellent, excellent 90s noir fixtures pictures that make a really interesting double pairing. And this one I'm kind of torn because half of me almost wants to make it a three-stack and throw in the Coen Brothers blood symbol because it's impossible to talk about this era of like I said, neo-noir without talking about I think probably the best of them, which is the Coen Brothers first movie, Blood Simple, which is darker than black. It's darker than... It's like the shift from the classic noir to the 90s noir is such

an interesting and nihilistic turn in the culture. Well, we can do another one where we do Blood Simple as Lone Star. Texas noir. Texas 90s noir. What I know is Texas. And here, you're on your own. And joining us for that episode will be The hit factory podcast Aaron and Carly from hit factory. I had such a good time talking about Carl Franklin's devil in a blue dress with them that I figured I would get them back to continue this conversation with Carl Franklin's one false move and John Dolls the last seduction. All right, next up is May 22nd. Hessa, what have we got? Yes, for May 22nd, we have my real long pick. We got a Dennis Potter episode, and a lot of you are probably wondering who the heck is Dennis Potter? He's a British...

We know JK Rowling is problematic, but look, he's just a good writer. He is like a British TV writer who also made some movies and including the two movies that I picked, starring Steve Martin. Bernadette Peters, right? Yeah, and Bernadette Peters. Her name is Steve Peters. Christopher Walken is like this. Christopher Walken, yes, plays the, basically plays the wolf from like old Looney Tunes cartoons, but in human form.

Okay, this I would say I have not seen pennies from heaven. So I'm, of course, of this one. It's, it's, it will turn, it will sneak up on you. It really is an incredibly strange movie that is unlike anything you've ever seen. It's very upsetting and amazing and funny. And Gorky Park is the other one, which is another neo-noir that takes place behind the Iron Curtain and stars-

William Hurt? William Hurt and Lee Marvin. And Lee Marvin and Brian Dennehy. So that is a total belter of a movie. If you've never seen it, it has a lot to do with the trafficking of sables. And it's just a beautiful film. We were considering having Felix on for this episode,

but the violence against Mustalids that takes place in this movie. I fear it would be too much. Yes, the violence against sables. Yes, it would be too upsetting. And for that episode, we're having my friend, Jules, on, who's something of a Dennis Potter expert. All right. Next up on May 29th, we will be delving back into the world of Robert Altman, transposed from a mere decade or two from the 1970s to the 1990s. We're looking at Robert Altman in LA in the 90s with the movie Shortcuts and The Player.

This is just, you know, it's a follow-up to our episode last season about Nashville and McCabe and Mrs. Miller. And it's sort of like, the purpose of that episode was like, what Altman was saying about where America, like how it started and where it was all going. It was like, you know, like in a post sort of Watergate in the 70s. In the 90s, like,

this is all fully come to fruition. And like, and too, unbelievably funny, the player is a fucking is so good. And Shortcuts is just a little bit of everything. It's based on Raymond Carver stories. It's this huge, it's like the Shortcuts is Nashville is Nashville, but in it's Magnolia. Yeah, it's Magnolia Magn Okay. But amazing cast and it's just more Altman and more celebration of his genius and returning again for this episode will be Andrew Hudson, but bringing along another big Altman head and one of like the true deep movie heads that we know our friend Taylor aka Tupac Directs from Twitter. Andrew and Taylor will be joining us to talk about the player and shortcuts. Okay. June 5th, we are going on a journey to the land of the rising sun. That's right.

We're doing Mamoru Oshii. We're going to do Pat... Of course, our first animated films. Yes. Our first animated films, two anime movies. We're going to do Pat Labor to and angels egg. And the guest for that one is going to be the one, the only Felix Biedermann. And it's because I think Pat Labor to is a game that Metal Gear Solid takes a lot from an angels egg is a or is a movie that Dark Souls takes a lot from if you've never seen them. So that's going to be a very exciting and fun episode. Yeah, Angel's Egg and Berserk are really, really like so much of the look and feel of the from-

Yes. ...soft games comes from. So we're really excited if you look to watch these movies and to have as many take on them. Next up, on June 12th, we are talking, this is a long overdue episode. I'm shocked we didn't do this in season one, but the long overdue, long awaited episode on probably my favorite actor of all time, Robert Mitchum. Yes. I mean, he's in the conversation. This like, the goat of all goats, Robert Mitchum, and

we're going to do two movies that sort of span the breadth of his career as well beginning with what I think is In again arguably the greatest movie ever made Charles Lawton's The Night of the Hunter Which is just like if you have not seen this movie if you don't know this movie you don't know movie You don't know all you cannot be taken seriously unless you're familiar with The Night of the Hunter Yeah, Charles Lawton. I wasn't familiar with your game, but this is like, Charles Lawton, if you don't know, is an actor who made one movie and was like, I'm going to make one movie.

What's like Bradley Cooper made Maestro? This is kind of his Maestro. Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha But Mitchum is terrifying and horrifying in it and but also hilarious Yeah, there's one of the funniest movies Little children little children when he's whooping like a little Oh god, he's he's such a loony tune in this movie like the way yes the way he like, like goes up the stairs like a Frankenstein. Yes. So good. And just the night time boat trip that the kids take. Okay, I'm not going to lie to you. We can't. We're going to be here all day. We're going to be here all night.

And then following it up with a movie made late in Robert Mitchum's career, where you get to see the full haggard visage of Mitchum and his hard living in the Boston crime Movie the Friends of Eddie Coil and joining us that episode will be returning champion John Semley Who you will remember from the Clint Eastwood episode, so you'll be joining us to talk Mitchum the next episode June 19th We are going overseas again, but this time we're going to Germany that's right folks. We're going to be doing Rainier Werner Fassbinder and we're going to be doing two movies, one of his more well-known ones, and then Kind of a Hidden Gem, that's one of my favorites of his. And both deal with taboo themes, kind of. The first is Ali, Fear Eats the Soul, which is one of

his more popular ones. And the second one is In A Year With Thirteen Moons, which is one of his less known movies, but is truly a crazy movie and very shocking and wild and upsetting and funny and I had a harrowing I've seen neither of these movies I'm actually my my my knowledge of Fassbender is severely limited so I'm very much looking forward to getting some game on like a big blind spot in my film knowledge. Fassbender I wasn't familiar with your game and we were we might have a guest for that one, we might not, we will see. And then finally, to close out season two of the movie Mindset, we have curated by and featuring our wonderful producer and friend Chris Wade, who's taking us to the punk's

verse yuppies landscape in New York in LA of the 80s into fantastic movies. Alex Cox's repo man and Martin Scorsese's after hours. Yes, just an incredible double feature. It's just New York and LA in the 80s. Just closing out super strong. Chris, Chris, Chris pick these movies for us and he will be our guest on the episode. Pure movie mindset. First, Yuppies, Repo Man, After Hours. And the pollishes off season two premiering April 24th. We hope that are you as excited as we are? Because we're buzzing. Folks, we'll see you at the movies and at the mindset.

We'll see you in the mindset. We'll see you in the Mind Palace. And have a great time watching the Oscars this Sunday night, and I hope you make some money off of our long, long odds picks for Maestro. Yes, Maestro, sweetie. I don't really, if we've taken anything from this episode, see Maestro. You gotta see Maestro, you guys. You gotta see Maestro.

It's beautiful. Bye. All right, Hasan, until next time, till Movie Mindset season 2. Talk to you later. Bye! Thank you.