This Had Oscar Buzz - 100 Years, 100… Snubs! – Part Four

Episode Date: May 22, 2023

The penultimate episode of our May miniseries is here! And this week, we are returning to a few repeat boot victims and some of our favorite oft-discussed films and performances. This round of snubs and boots includes terrifying bundles of sticks (cough), being 4′8″ and dying, codpieces, visions of the afterlife, lump twins, Mike Leigh … Continue reading "100 Years, 100… Snubs! – Part Four"

Uh-oh, wrong house. No, the right house. I didn't get that! We want to talk to Marilyn Hacks. I'm from Canada. I'm from Canada water. the limits. Those who indeed push that envelope, tap our emotions for adventure, success, and joy, earn our admiration, and create that special something which brands a movie

as being truly unique in trendsetting. Their ideals become our ideals. Their thoughts become the standards of our thinking and language. Their style of dress and movement are seen on the streets of our nation. And their moments of triumph and defeat become our successes and our failures. Hello, I'm Elizabeth I'm First. And I'm Mary Queen of Scots. And welcome to the This Had Oscar Buzz Film Institute presents 100 years, 100 snubs. Every week on This Had Oscar Buzz, you hear us talk about a different movie that once upon a time had Lofty Academy Award aspirations, but for some reason or another, it all went wrong. The Oscar hopes died, and we are usually here to perform the autopsy.

but in this May, we are doing something a little different with our May miniseries. Every week in May, we will be looking back and choosing the 100 greatest Oscar snubs of all time, according to us. We'll have special guests calling in to offer their choice for snub submissions. We will be booting out the old nominees that we want to make room for our snubs, and we're going to have a good time doing it. I'm your host, Joe Reed. I am here, as always, with my...

monarch who fucked shit up, Chris Fyle. Hello, Chris. We'll give our boots to the arrival to the throne. Now that you have become justly celebrated for your accent work, I feel like we are going to be getting more. His accent brought to you by the, you know, at least nine and a half hours a day I watching clips of Jack Loudon for science. Wait, from which movies specifically?

Are you getting this? Oh, just really any interview. Yeah, that's nice. I'm not that obsessive, but it's just like, I mean, whatever. Mr. Sersher Ronan, handsome man. What a couple. What a lovely couple. Sershia Ronan, who played famously Mary Queen of Scots in the movie of that same name?

Will we be including that performance in our snubs? Who is to say? Um, maybe, maybe not. Chris, we are already into part four of 100 years, 100 snubs. Where does the time go? Where do the snubs go? We only have 40 snubs left. Where do broken hearts go?

Well, true. A song that would have been a good movie song, but was not. What movie are you putting that to in the 80s? Oh, gosh. I mean, where to broken hearts go? I mean, it really could have been in anything. I feel like... In the 80s, of course, it could be in anything.

The whole, like, there's this weird... Love theme for Jaws 3, you know what I mean? Like, that kind of thing. Right. Like, you think of, um, against all odds, which sounds like, you know, a sports movie or something, but it's actually like a spy espionage type. I don't know.

Uh-huh, uh-huh. Yeah, you get, like, the Thomas Crown Affair, which gets, like, the goopiest little, like, windmills of your mind song or whatever. And it's just like, no, this is a spy thriller. So, okay. some like the nuclear power plant meltdown movie yeah the china syndrome yeah the china syndrome uh that's the late 70s right yeah i think it's very late 70s yeah yeah

well Whitney wrote it years before she recorded it and uh where do broken hearts go love theme from the china syndrome i'm into it i'm deeply into it um yeah chris we only have 40 snubs to go plus various picks from our guests who you'll be listening to. And we said before, for the purposes of this project, 100 is a very, very small number. And we really appreciate our listeners getting back at us on Twitter and just in general, talking about their own choices for snubs. And the more I see of those, the more I'm like, oh, right. like there's going to be a lot

getting chatty on Instagram too there's a lot on the cutting room floor let's just say yes some that people are like ooh here's my niche one and it's like well we're going to make that person really happy or someone that says the most obvious one in the world

and we're like that's not on our list but you know listen we are infallible that's true these these are it's a bulletproof 100 we have no no regrets, no mistakes. We really don't have any regrets, actually. I think I'm looking ahead at the 20 that we have lined up for this episode, and it's a good 20, I will say. So, yeah, part four or five. Next week will be our May finale, and we'll see how your faves shake

out. If you're still, you know, holding out hope for your number one choice, you've got some, you've got some options ahead of you. So, Chris, do you want to go through quickly the ground rules that we have established for 100 years, 100 snubs? Listen, if this is your first time in this May miniseries listening to us, you are probably going to be very confused. So we're going to reestablish these ground rules. Go back to listen to parts one through three. First of all, we're only doing one snub per category per year at a time. So say you might have have one highly discussed 2016 Best Actress Snub

and we choose something different. As we encountered last week, yes. Justice for Amy Adams in arrival and yet we couldn't leave off an up ending in 20th century women. We wouldn't feel right about it. So, yes. Correct.

Then we will also be choosing the nominee that gets replaced. So we will be booting Oscar nominees from this list if they are the winner, we call that a house down boot. We also observe the right to enact the Nicole Page Brooks rule, where we send them all home. That's right. Have we done that yet? Has that happened yet? I'm still waiting. No, we love building anticipation. Maybe it'll happen this episode. Maybe this episode. The other thing is sort of more informally is we have limited ourselves

to, if we pick one actor for a snub performance, that's that actor's appearance on the list. So, for example, And I chose Tom Hanks for a league of their own. We're not going to throw out a bunch of Tom Hanks. Right. Tom Hanks for Captain Phillips, a performance we both love, takes the backseat for that. Nicole Kidman, only one performance maximum. We can't have 14 Nicole Kidman. We can't have much as we would like to.

I will say, though, as always, our guests are completely immune from all of these rules. Our guests can do whatever they want. We are permissive parents on this show. So, yes. Yeah, and then it's all leading up to our choice for... The biggest Oscar snub of all time. We are only one hour and presumably seven... Or one episode and presumably 17 hours away from that.

Buckle... These episodes have been long. We have tried to be as succinct as possible. But as I mentioned on Twitter, we're ultimately talking about 20 movies for episode. 20 movies that branch out into discussions of infinite more movies when we talk about what's not talking about 40 because you got to talk about the one you're booting too well and not just the one you're booting but like the ones you are considering booting so like it's a lot it's the fractals and and you know the geometry of it all uh spreads out pretty quickly chaos theory that's what

he and malcolm was talking about in Jurassic Park chaos theory so um but yeah that's the rules ladies and gents, and, I mean, I don't think we should necessarily dither on any more than we have to. Like I said, these episodes have been long, so we do we want to jump right in with your choice for your first snub of this episode. I'm kicking us off, okay? Kick us off. I know you why have I here. Why? You want me to put your key.

All right. I feel like we may be tangentially. looked at this best actress race that we're talking about 2007 in one of our recent episodes which acting race? Did we do supporting actress in 2007? Well, we're about to do actress

as well. One of my favorite performances so we'll keep it brief because we also have an episode on it. It is Tongwe in Angley's lust. Caution. A fave of yours. A fave of mine.

Great erotic thriller. like a neo-no-no-war sort of like spy movie where she has to infiltrate a man, make her believe that... Does she ever infiltrate a man in this movie? Oh, yes. There's infiltration. There is deception. There is costuming. And there's an incredible performance by Tong Wei who has to play the layers of deception that she's doing.

And then on top of that, her own confusion, her own... her own getting lost in this, you know, elaborate ruse that she's put on because she can't tell if she is actually falling for this man who politically she is against. I love this movie. We talked about it in our episode. Tongway, becoming one of my favorite actresses. Also, last year was decision to leave. She would be my best actress winner for last year. Yeah, I'm obsessed with her. She is mother to me. And this is a fun best actress race. It is.

Barying Cotillard wins for playing Edith Piaf in Leveon Rose. Kate Blanchett barks and yells a lot and it is fun in Elizabeth's the Golden Age. That's right. Julie Christie in Sarah Polly's away from her. Laura Linney and my beloved The Savages and Elliot Page in Juneau. I think I know where you're going, but I'm interested to hear. hear the, the conversation about it. There's not really much, uh, debate here, which way I'm going.

It's going to be a house down boot for Marion Cotillard. Oh, okay. You're going a different way than I thought. Okay. As much as like her Oscar speech, you wouldn't trade it for the world. That is a bad movie. And I actually told me she's very good in it. And like, I know a lot of people would go for Kate Blanchett and Elizabeth. Yeah, that's sort of where I thought you were going to go.

I think that's not a good movie, but she is very fun in it doing exactly what you want her to do. Commanding the wind, sir? Is that what you want her to do? You want her to command the wind? Yes, she too can do it. Not sure if you're aware of this, but she too can also command the wind, sir. Also, you booted her for, because this is a double nomination here. And you booted Kate Blanchett for, I'm not there, correct?

In favor of Jennifer Garner. We can't just like... That's true. We can't take the, you know, take the bat to Cape Blanchett's entire 2007, so yes. And while I think she's in a bad and a bad movie, I think Marion Cotiar is bad in a bad movie. I've always thought that. I always, for some reason, was under the impression that you liked her performance better than I did. I used to like it a lot more than I did before I was really looking at it all that critically.

I think that movie is a mess when we when we did the best actress screen drafts and I rewatch that movie, I was like, oh, Jesus Christ, this is bad. I love Edith Piaf, though, so I think there were some blinders there and sure, I mean, whatever, it is, it is transformative in, you know, Edith Piaf's short life, you know, she went through, you know, a lot of turmoil that, you know, that movie Splash is huge. huge to make Marion Cotillard look, you know, 4-8 and dying. 4-8 and dying is a heck of a descriptor. Yeah. Yeah, I fully agree with you on this one. We are in lockstop alignment, so I'm glad that you went that way. House Downboots for the winner of Best Actress that year.

So shall I pick up the mantle? with our next one. Yes, taking us to a very beloved movie year and not a good Oscar year. I'm hitting downstairs. Come on. I hear him downstairs. Come on. Josh! Not a good Oscar year, but a very good year for movies 1999. So this one is maybe my most deranged. We'll see. Uh, when, when we presented each other with our lists, this was one, you, you took a moment, Chris, to be like, okay. Um, when you saw this list, um, I, I have a good defense of it. So, um, I could have gone best picture for this, uh, for this particular film instead. I'm going to go with best art direction from 1999. It's the Blair Witch Project, one of my very favorite movies of 1990. one of the most sort of landmark movies of that year, that's one, I think, that really does hold up for as much as people, even at that moment,

were trying to pass it off as a gimmick movie and as something that was primarily hype, primarily an online phenomenon, people sort of like, well, it's the best website for a movie, but I don't know if it's a good movie. Stupid. It's a great movie. It's a great horror movie.

I think art direction is an interesting choice, I will admit, for a movie that is primarily in natural locations, and you send these kids out into the woods with some cameras, and you say, film your scenes, essentially. Art direction in this movie is credited to Ben Rock and Ricardo Moreno, who don't really end up doing a whole ton of, don't have a whole ton of other credits on IMDB, which sort of puts a little bit of ammo into the column of like, these people were just sort of like making it up as they go along. But I will say, there are a few things in this movie that have stuck with me forever, and those are art direction-based. One of which is the little stick figures hanging from the trees. And, and again, am I going to give somebody an Oscar nomination for tying, bundling little sticks together? Maybe. Absolutely. Maybe.

it's it's a really simple but incredibly effective a little simple there but the other thing is the cabin at the end when they find the cabin and they go inside the cabin and the handprints on the walls and just the and again a lot of this is natural you know naturally occurring locations right a lot of this is location based. But the little things that they do to outfit that house really enhance how terrifying the end of that movie is. And that movie's ending is one of the best endings of a horror movie I can think of. There's also little things like the prop work on the little bundled up thing that ends up being I've always figured Josh's tongue is in that little like...

Or like his teeth or something. Something. I've always every time I see that scene I'm like, what am I very Carrie Mulligan and she said right? What exactly are we looking at here? I remember people, when I saw it, like everybody like, I saw it with an audience that was not feeling it.

The time I already turned on Blair Witch when I saw that in the theater. And I remember people giggling during that scene because someone earnestly gasped and was like, was that his dick? Oh God. Come on. guys. I think it's his tongue. I mean, it would be kind of scary if they were, if a witch, like, just, you know, sent you your friend's dismembered dick in the woods. Like, that's pretty scary. I think you do see teeth in there. I've always thought it's his tongue because when you hear Josh screaming later, it's this very, like, unintelligible, like, he's not really forming words. He's just sort of, like, yelling. Um, so anyway, a lot of small details. This is a, again, this is a largely location-based, uh, uh, he's, um,

film shoot. But I think those details are enough to warrant an art direction nomination. I think we've nominated movies for less. You are an emphatic advocate for effective and simple things that make a huge impact. Yes, that's exactly it. So who am I going to boot out? Well, this is a category in 1999 that had a lot of very elaborate art direction, right? Sleepy Hollow is the winner in this category. Tim Burton's movies are always impeccably art directed. This one is no exception. There's Anna and the King, which is the sort of remake of the King and I with Jody Foster. There's the Ciderhouse

Rules. There is the talented Mr. Ripley, which is I think when you think about that movie, you think mostly, in terms of design elements, you mostly think of costumes. But like the art director in those, you know, the apartments in Italy and whatnot and the sort of depictions of wealth. I think it's very, very well appointed. And then Topsy Turvey, Mike Lee's Topsy Turvey, which is a period piece, Gilbert and Sullivan. Again, a lot of really good art direction, a lot of the depictions of the operettas on stage. There's a lot to go with.

So, like, it's a lot of art direction in all of these nominations. I think the movie, the movie of these five that I think is the least is probably Anna and the King. I think art direction-wise, I think there's probably more to be lauded in Anna and the King than there is in the Cider House Rules, a movie that I tend to stick up for more than not because it gets so sort of dumped on when people talk about the shoddiness of the 1999 Oscar nominations. There's period detail, of course, sort of all over the Ciderhouse rules, but I'm not sure it ever really elevates to the point of nomination worthiness. So I'm going to boot out the Cider House Rules from 99 and replace it with the tied-together sticks of the Blair Witch Project Forevermore.

So there we go. Chris, what do you have next? I see ghosts, y'all. I see... Ghost. Well, that was all of us, man. You've seen him, too? Yeah.

Dad, come to you a night. Storm and Norm comes to me, damn there every night. Now, he talked to you. Like, he talked to me. Come on. Oh, thank you. Come on. So, I tried to avoid, maybe not tried to avoid, but, like, in assembling this list and, like, the difficulty of it, I wasn't really,

the difficulty of that task, I wasn't really leaning into super recent things. Same. Very same. I'm remembering my total list correctly. I think this is about to be my most recent entry, which still like preparing for this and compiling stuff, it still just kind of boggles my mind, boils my brain that Delroy Lindo was not nominated four to five blood.

We're talking Best Actor in 2020. The year of the pandemic, a Netflix movie when, like, Netflix essentially was designed to reign supreme over the Oscars because they had all of, like, they were essentially not affected by the pandemic. Right. And they flubbed the Oscars. And somehow. You know, I think. think there is something to be said, though, like, it sounds silly because, you know, everything everywhere just ran a gauntlet for an entire year before winning Best Picture, but Defive Bloods

was one of the first, you know, pandemic movies where people felt like they could watch, like, a real movie. A real movie. And not feel like it was a compromise because, like, well, that certainly would have be on Netflix. Yeah, it was always going to be on Netflix, even though it would have certainly had some type of theatrical push. It was supposed to break the Netflix-can situation because Spike Lee, he was originally supposed to be the jury president that year and was going to show Defy Bloods out of competition. Right. And since then, Netflix doesn't want to show anything

out of competition, whatever. Um, who cares? Uh, yeah. But this movie, it feels like got buried in the whole shuffle of the year because it was so early for a lot of those movies and Netflix throughout the year kept like paying out the ass for these movies like Malcolm and Marie pieces of a woman

these things that like for like yeah all purposes you look around in the culture and are they real they're not yeah they don't exist but Netflix would pay $25 million to buy those movies um

and like they kept throwing so much shit at the wall in a way that it felt like maybe they were trying to you know, run the table at the Oscars. Right. Like, can we get every nomination this year? Right. Right. And

it never felt like the Five Bloods was part of that equation. It gets a Terrence Blanchard nomination for, I mean, incredible work from Terence Blanchard, but it's like, it was a great ensemble. And Delroy Lindo at the top of it is like,

the fucking king lear of all Spike Lee characters ever he has these he has the scene where he has the panic attack he has the scene where it's the direct address to the audience it feels like this huge grand performance for this performer who's never been nominated before has never gotten his due and and who by and large people weren't talking about this performance like yeah people like in our circles, we're like, yes, this is the performance of the year, period. And it's not like the industry necessarily walked straight by it. You know, critics supported it.

He won New York. He won National Society. He gets a Critics Choice nomination, and then it stops. Yes. And it, you know, it's frustrating. It's an incredibly tortured performance that, you know, goes to some dark places. He's playing a Vietnam vet returning to Vietnam

to recover this possible treasure from his platoon with all of his returning you know fellow soldiers and I don't, I mean like I wasn't as

enamored as the movie as some people were but it was just like talk about a performance that just like blasts you to the back of the room and pins you to a wall with how fucking electric it is. And, I mean, tell Orlando's a legend. I don't know how this didn't happen. Well, and he's like, he's sort of this, like, beloved character actor, right? He's been in so

many movies in smaller roles. Spike Lee's kind of the only one whoever elevates him to the status of lead in movies. In movies like, uh, like Clockers or like, uh, um, um, Crooklyn, certainly, but usually that, I mean, we've seen it with people like J.K. Simmons and Octavia Spencer, where, you know, you get these beloved character actors who have been in a billion movies, and it's like, well, that tends to help them because they've, you know, starred with 8 billion people in Hollywood.

So I think it's... There was some initial confusion over if he would be placed in supporting. everybody felt like that seemed to be... And then there was that odd Chad with Bozeman campaign for Five Bloods where they tried to sort of eke out a second nomination for Bozeman, a second posthumous nomination for Bozeman, which was, you know, okay, you know what I mean? Like, it ultimately didn't end up working and, you know, we can sort of debate

the effectiveness of trying to sort of thread that needle and try and latch on to a moment, you know what I mean? But you wonder if maybe that took a little bit of the juice out of a campaign for Delroy Lindo, who could have really used

a lot of that focus. Who's to say? I mean, like, yeah, and the movie overall didn't feel like it got Netflix's attention in a way that it you know, could have been a major Oscar contender. Well, like you said, by the end of the year, they kept, like, piling on, like, more and more contenders, right?

By the end of the year, it was, you know, Chicago 7 and make, and Ma Rainey, and Pieces of a Woman, and... And the Oscars were in April that year, and this was a movie that hit Netflix, I believe, in May. Yeah, May even, yeah, yeah, yeah, yeah. But, yeah, so Anthony Hopkins wins for the father in that really unfortunately programmed moment of television. Riz Ahmed nominated for Sound of Metal, Chadwick Bozeman for Maureen's Black Bottom,

Gary Oldman for Mank and Stephen Yun for Minari. I think Delroy Lindo runs circles around everyone in this category, though this is not a house-down boot situation. I think this is a pretty good best actor lineup. I think it's a good lineup. Yeah. I think it's a good lineup. Yeah.

My boot, which is not going to make you happy, and I'm not a Mank but like I do have to Gary Oldman I think is the obvious fifth place for me I love Mank and I think I would agree with this selection I think that's part of the problem with Mank

is like it's all centered around this character who it's not that he's bad in the movie but like I don't really think you come away talking much about Gary Oldman's performance I agree but I also don't think Mank depends on that for its success I think he's the central

title character but I think there's so much jealous going on in that movie to be able to appreciate the supporting cast is so fun arles howard amanda cyfrid yeah and even just like the the you know just the the the way this whole world is depicted and the the the script i think is really strong anyway but continue yeah uh wouldn't take that amanda cyfrid nomination away for the moon um yeah uh i i love this performance del ralindo So rules, I hope that he does get to have, you know, that celebrated moment someday. Agreed. All right.

Well, did you at least think the characters were well developed? What characters? There's a bunch of little kids there dressed up in the animal costumes. Good night, everyone. Well, sweetie, don't be mad at me. That's just one man's opinion. All right, so we're going to go back in time, almost 20 years, to the best actor race of 2001, the Gold and Globe winner from that year. It's Gene Hackman in the Royal Tenenbaum's, which is a,

it's one of those nominations. I think in selecting my choices for 100 years, 100 snubs, I had a mix of, well, it's just like, it's my choice and I will, you know, make plausibility be damned. I'll throw in the Blair Witch Project for our direction. And I think some of them are are ones where you look at it, and it's like, how did this actually not happen? Because it makes all the sense in the world that it would happen, and it's also incredibly deserving. And that's where Gene Hackman in the Royal Tenen bombs falls. Hackman's a two-time Oscar winner, a sort of beloved, I mean, he's sort of whatever, the reputation for him for being irascible and kind of difficult precedes him. But regardless,

he's so well respected as an actor, right? He's, he's, you know, he's such a great, he's one of those actors who is a phenomenal actor, but is also a great movie star in that he can, you know, he's endlessly adaptable. You immediately can buy him as a hero or a villain or comedic or dramatic, and he works in kind of all context. That's the Gene Hackman's sort of superpower. And also the fact that he's in this incredibly quirky movie. The Oscar voters liked the Royal Tenenbaum's enough to give it a screenplay nomination. So it's not like it was completely off of their radar. He was in the conversation enough to have won the Golden Globe for Best Actor in a Musical or Comedy. He's also

so featured. You know what I mean? Like he's the title character of this movie. He's he gets the showiest stuff in a lot of this, you know, in a lot of this movie. In a role completely different than anything he'd ever been nominated for an Oscar for. He's, he's, I mean, like, he's funny, but his character also, like, dies, so there's a little bit of sentimental pull to it. He's acting with children. He's acting with adults. He's, he's every single, a complete bastard. Complete bastard.

Every single line reading is so funny. It's so. Let's go shag ass. exactly exactly um the scene where he sort of confesses to angelica houston that he's making it up and sort of doubles back on himself and then you know admits it for real where she finally has to just like hit him and just be like what is wrong with you um telling pagoda that's the last time you stick a knife in me um so just so many fantastic lines and one of the great comedic performances one of the great

performances in any Wes Anderson movie, I think. And it's just befuddling to me that all of those ingredients were there, and it doesn't end up. And he didn't even seem like he was particularly close. Like, I feel like going into Oscar nomination morning that year, I don't think a lot of people even had much of a hope that he would end up on that, in that category, which is Sean Penn stormed the field, and he'll probably do it again at some point. Like, yeah Sean Penn crashed the party let's say so yes

the best actor nominees of that year Denzel Washington wins for training day historic win Russell Crow for a beautiful mind who had won the year before and if he hadn't won the year before he probably would have won for a beautiful mind

because that's your sort of best picture barnstormer Sean Penn This is also when he threw the phone right does he throw the phone in a beautiful mind year it's somewhere within that no he threw the we've broken down this timeline before we can't get we can't get into it again yeah uh sean pen as you mentioned i am sam will smith for ali and tom wilkinson

for in the bedroom so this is i mean it's easy in that like last hired first fired like sean pen sort of snuck into that lineup at the end for a bad performance in a bad movie so And yet, part of me is tempted to boot Russell Crow because I hate a beautiful mind so much, so so much. Ultimately, I'm not going to be quite that bold. I think Russell Crow is at least giving a performance that I could watch without having to put my hands in front of my face. You know what I mean? A little bit. And that's what we're getting with Sean Penn and I Am Sam.

So that to me is, it's the easy choice. So we're going to boot Sean Penn for I Am Sam and not think any more about it. Can you imagine? I mean, like, if this was an actual replacement of Gene Hackman had been there and Sean Penn hadn't kind of swept in somewhat at the last minute with that movie. Yeah. This would be an amazing line. up with, you know, like, four people who would deserve to win, and then Russell Crow.

Yes, it's, yeah, I think that's exactly right. I think you look at Tom Wilkinson. I think I've always said that Will Smith and Ali should, looking back, that's the Oscar-worthy performance of the three that he's been nominated for. You don't take away anything from Denzel by saying that, but I think if I'm handing out an Oscar in this category as it stands, without Gene Hackman, I would probably give it to Will Smith. But, yeah, it's an incredibly strong category if you add Gene Hackman. It's these little moves that can go from a category being like,

oh, okay, to like, ooh, Alzheimer. So speaking of Gene Hackman, Chris, where are we going next? Now, this is what Clinton didn't understand when he started in on school prayer and gaze in the military. All right for you. Now, there's an idiotic issue. Gays in the military. I mean, those haircuts, those uniforms. Who cares? So, we are going down south with Gene Hackman. Perhaps to... Where is he from? Anyway, we're going even further south from where he is from in this movie to Florida. We are going to the Best Picture Race of 1990. I wrote

1998 in here. That is not correct. It's 1995. Six. 96. 96. Mike Nicholson's masterpiece, The Birdcage. The Birdcage. It is a masterpiece. I think you chose the right word for that. It's an absolute masterpiece.

I mean, I always erroneously remember it as one of those movies that got one Oscar nomination during the two categories of original score years, which is true. But that does not mean it got an original score nomination. It got an art direction nomination, which is cooler than getting a song. nomination or a score nomination yeah i mean the bird cage come on it is so endlessly quotable i was almost like it this was something that i thought of multiple options as well i thought of both robin williams and nathan lane they are both incredible performances they both should have been nominated um anyone in the supporting cast is wonderful uh yes hank azaria does

give uh cringe in the movie but but he's funny is the other thing There's some things that it's like he's playing, you know, a stereotype and like the line itself is funny regardless of the stereotype. That's the thing. There's a lot of that. But then there, I mean, Elaine May's script, I mean, it is so what a lovely bunch of coconuts that she was not nominated for this. And it's like, you know, La Caja Fall was already a popular international hit, became a popular musical. And then it's like, well, what can you even do to, you know, continue that success? Oh, you make a comedy masterpiece where not only is it breathlessly funny from start to finish,

but actually has, you know, some emotional depth to it and interesting characters that are, you know, compelling to spend time with and consider. It's also a huge hit that year is the other thing. A massive hit. A hundred million. dollared movie. And, like, you can talk about, you know, representation in terms of, like, Nathan Lane was gay and outish, but, like, Robin Williams. But, like, Robin Williams is fucking perfect in that movie. And, like, the hottest man who ever lived. Well, and it's a

genuine love story at its, like, at its core that doesn't shy away from that at all. Like, this is a movie that has a lot of fun with the Nathan Lane character, but it never sacrifices his essential dignity and it's ultimately a movie that comes that never shies away from the fact that like these two people love each other so much that they are willing

to go to, you know, all of these lengths for each other. And in 1996, in a $100 million movie, like that's, it's really quite tremendous. And like we can all sit here and be like the son's the villain of the movie, blah, blah, blah.

And it's like, but the movie does, I think, for a movie from the 90s, put him in the position of being wrong in asking them to not be themselves. And yeah, I mean, what a perfect movie. I know, it's so good. It had to be on this list somewhere. I think this is the right category to put it in. The, I think the first, maybe it was the second SAG ensemble winner ever, and it's like if we had only equated that with a best picture

win in the season at the time, maybe people would have taken it that seriously. I know. Yeah, but one of my favorite SAG ensemble wins ever is the birdcage, yes. Right. Great choice, SAG. Good job. Who in the movie doesn't deserve a trophy?

Yeah. Including Christine Baranski. Oh, especially Christine Buranski. My goodness. The woman dances, the woman, you know, pulls off jokes. She's fantastic, yeah. This is the year the English patient wins, also nominated were Fargo, Jerry McGuire, Secrets and Lies,

and Shine. Oh, Oh, Shine. Our little punching bag. We're picking on you in the month of May. Shine, you're getting the boot. It is not even up for... No, it's very easy. Yeah, unfortunately. I think even the people who want to shit on the English patient are like, why is Shine a best Picture nominee.

Yeah. Yeah. Was Shine a Miramax movie? I don't think Shine was even Miramax. It's like... I don't think it was. This is, of course, the year the indie takeover, which is, I mean, maybe when you have this megastar late in the year Christmas release in Jerry Maguire as like a studio comedy, it

makes it harder for something like the Birdcage, which I believe was a summer movie. Yeah. But I don't know. I'm not shitting on... Jerry McIre but like the bird cage is like

you know yeah I agree um I genuinely don't know what studio had it was not Miramax um

it's at least was it early Lionsgate or something let me check IMDB or like Polygram Polygram that year was Fargo I'm pretty sure so um I think that was probably

here let's see if IMDB gives me it's not so classics. Well, the other thing with Shine is all of these production companies are like, it's Australian, you know, distributor are, oh, Fine Line. It was a Fine Line feature as a US release. Okay, that's interesting. Good for them. Good for Fine Line. Viacom probably still has those rights. Yeah. Yeah. All right. Oh, Shine. Yeah. Joe, where are you taking us? I'm going to take us to the best original score category of 2006 with one of my, when we decided to do this project, this was probably in the first five of snubs that I jotted down that I knew. I knew I would have to include in here.

It is... Let me double-check our list because I feel like this overlapped... Was this also on yours? It didn't top five... It didn't overlap our top 50. The Birdcage did. But I'm sure this was on my long list, too.

I bet it was. Clint Mansell's never been nominated for an Oscar, which is surprising, considering he's done scores for movies like Requiem for a Dream and Black Swan, both of which were big Oscar players. In 2006, he sticks with Darren Aronofsky and does the score for a movie called The Fountain, a sort of long beleaguered project.

We really do have to, soon-ish, do our episode on The Fountain. Was originally going to be a Brad Pitt-Winslet movie, hugely ambitious. Blanchet. What did I say? Winslet, Kate Blanchet. The Stans are going to come for you for that. Truly. Brad Pitt and Kate Blanchett, who ended up in the same movie in 2006 anyway when they

were both in Babble, which is a very interesting turn of events. But anyway, delays and turnarounds and whatnot. It ends up getting released in 2006 as a Hugh Jackman, Rachel Weiss movie, multiple timelines. Hugh Jackman plays a conquistador searching for the Fountain of Youth in this, you know, years ago, parallel storyline where in the present-day storyline, he plays a doctor who is trying to help save his wife's life. She has a terminal brain disease or something. I'm trying to remember exactly. She's dying. She's dying. And so there are these themes of, you know, the Fountain of Youth and these parallel characters. And then you have this flash-forward storyline with Hugh Jackman in lotus pose floating in a bubble in the future,

in the deep, deep, deep future. And it's weird. It's desperately deeply weird. But I think if you take it on its own terms, it's quite a ride. And guiding you through this ride is Clint Mansell's score, which really asserts itself throughout this movie. This is an incredibly sort of, you know, operatic kind of very highly stylized movie, and the score really matches it. It's one of those scores that subsequently showed up in a bunch of trailers and TV spots for a lot of different movies. Or just, like, ripped off for trailers, too, if not lifted directly.

It's a tremendous standalone score to listen to. It's sort of, you know, it's very sort of sweet and lovely in parts, and then it gets to these, like, incredibly dramatic crescendos. And the part that's used in the movie for the scene with the tree at the Fountain of Youth is tremendously good. It's so rousing. It's so, you know, dramatic. And it's kind of undeniable. And it's shocking to me that in this year where, like, the best original score category was not super pinned to the best picture category like it sometimes is now. I think we've talked about how recently the crafts categories have become more and more tethered to Best Picture in a way that I don't love.

But back in 2006, you had nominees like Thomas Newman for the Good German or Philip Clems. class for notes on a scandal. You had Javier Navarette nominated for Pan's Labyrinth, Alexandre de Sblaf for the queen, and then the winner was Gustavo Santoyaya for Babel, winning his second year in a row after he had won for Brokeback Mountain the year before. And I sort of went back and forth on this one

because I don't think the good German is a good mood. movie necessarily. And, like, of those five movies, it's my least favorite. But, you know, I love Thomas Newman. You know, I love a Thomas Newman score. And not to pick on, I think I have, did I boot DeSpla earlier in this project? I have booted the queen. You, I know, have booted the queen.

But I think I might be booting that one. That was the same year where he had the painted veil, right? And the queen was sort of nominated instead. And the painted veil score is so good. That's the thing. That's the thing. So I, in my memory, the score for the queen was seen as a little bit of a lesser, you know, lesser option. So I think, you know, again, we're picking on certain movies.

We're picking on shine. We're picking on the queen. Sorry to do it. Sorry, you know, to this queen. but Clint Mansell for the Fountain is one of the most no-brainer should have been an Oscar nominees of my lifetime. So that's going in

and the queen is going out. So that's where we have it. Chris, what do you have next? Oh my God, run upstairs. Why are their hands on the wall? Is that the Blair Witch? No, it says someone's here. It's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, oh, we have a

guess. Oh, good. Hey, Joe and Chris, Kevin Jacobson here. falling in to say I'm very excited for this mini-series. Can't wait to see how it turns out. My biggest snub that still sticks in my craw to this day is Naomi Watts in Mulholland Drive. That's a performance where she is just exploring so much, she gets to show her full range. I think she nails the sort of dreamy qualities of the beginning, and then the very despairing parts towards the end, and it just kind of bums me out, because I don't think she's ever

topped that performance. Also, David Lynch was nominated for Best Director, you know, I think it would be one thing if the Academy was just like, you know what, this is too weird for us, and they just ignored it completely, for it to be, like, enough on their radar to get that nomination, but not her, when also there have been performances from David Lynch films that have been nominated. It just bums me out. Uh, as far as who I'd replace, though, I can't say that I've seen Iris in a while, but I don't know that Judy Dench needs another nomination that she wasn't winning for. So, you know, probably her. And then I think sub in Naomi Watts, and you have a pretty iconic lineup. Kevin Jacobson, appearing to us as the Blair Witch in the woods to say, Salencio. Um, you should tell us to be quiet sometimes. Um, first of all, Kevin, for booting, Dame Judy

when I see you it's on site but I understand that choice somebody won't be getting named in the naming of cats we can assure you I think that was a performance Naomi Watson Malhalla Drive that was on both of our long

lists right? Yes and would have ended up on Yeah Kevin taking this selection freed up a spot for at least one of us. So we thank you for that, if nothing else, Kevin. An impeccable choice, a baffling eventuality that Naomi Watts. We've talked about this before. We did our whole mini-series on Naomi Watts. We talked about how the category confusion from Mulholland Drive certainly didn't help her. Mulholland Drive being a movie that got only one Oscar nomination, but it was for

David Lynch and Best Director, is both disappointing and yet, like, weirdly kind of perfect. In a way... Same for Blue Velvet. Where the Academy was like, I don't know, man. Like, it sure is something, though. And... The thing about that performance in terms of Oscar is, like,

part of the reason why it's so impactful is you have no idea who this actress is. You've never seen her before. But, like, if we had maybe seen her in, like, one other performance, not Children of the Corn Five or whatever. The Tank Girlie's new... The Tank Girlies all... all new. Yeah, yeah, yeah, yeah.

But, like, if they, if people recognize the name Naomi Watts somehow, I do think she probably gets nominated. Probably true. So it's this weird kind of paradox. As it is, I bet you she was pretty close to a nomination that year.

I agree. It's a great one. Chris, you are bringing us our second Wes Anderson performance of this episode, which is... Run to the Cathedral of Santa Maria in Brooknerplatz, buy one of the plain half-length candles and take back four Klubex and change.

Light it in the sacristy, say a brief rosary, then go to Mendels and get me a cortisone or chocola. If there's any money left, give it to the crippled shoeshine, boy. I am. One, we have talked about a lot, especially in terms of its surprising inability to land that Oscar nomination, especially because for some reason I had remembered it as not doing as well in the season

of Best Actor 2014. But Ray Fines in the Grand Budapest Hotel nominated for BAFTA, the Globe, and Critics' Choice, which, like, yes, you're talking about a comedic performance, but you would think that especially getting that BAFTA nomination, it would kind of close the deal for this movie that got, what, like, 12 nominations? I was going to say it was the nomination leader, I'm pretty sure, that year. And I think it won the most that year. Yeah.

It definitely won the most that year. was a year where Birdman wins Best Picture, but the awards themselves are pretty well spread out. So, it's puzzling that for Grand Budapest Hotel to do that well with the nominations and with the overall

Oscars that year and have this virtuoso lead performance by a former two-time nominee, you know what I mean? Like, it's... Two-time nominee, but not since the 90s. I think people have not realized that they have not nominated Ray

finds except for Schindler's List and the English patient. That's a long time ago. And also, are those the most indicative of his career? Whereas, you know, if they had nominated this performance, which is so funny, so, like, dry and withering and of a piece with the world that West Anderson creates, much. And, like, kind of towering over the movie, similar in the way that you described, uh, Gene Hackman for that movie. Yeah.

He's just so funny. Like, we both on this show have not only talked about this performance and it not getting nominated many, many times, but we've also talked about, we don't really love this movie, but like, this is head and shoulders our favorite thing about it. Ray Fein's wonderful. Yeah, he's so good. I will say, I was, I was torn in two ways about including this on this list. One, there was another Ray Fines performance that I wanted to include, which is his performance in A Bigger Splash, that I think is like this performance on...

I am a little surprised that you didn't choose that one instead. I love that performance. This one just maybe makes more sense to include in this list of these two. Maybe that is cowardice on my part. Who knows? But I also was torn between doing Channing Tatum for Foxcatcher. which is the same exact year. Yep.

A performance that I think is really incredible and should be that man's Oscar nomination that still hasn't happened. Has eluded us, yes. But, like, Ray Fines has to be on this list just because it's like, where, where's his next nomination happening? Yeah.

It's not happening for directing, because he does not make interesting movies. Oof, oof, the shots have been fired, okay. But I think he's in an interesting era Kind of as an actor, even though he's still doing franchise things like James Bond movies. I could easily see him getting a supporting performance in something that leads to an Oscar win at some point. I think he still is, I think we underestimate. Probably still have a performance to talk about later in this episode, but we won't spoil that.

I think we underestimate the sort of global reach of him being the guy who played Voldemort. Like, he's going to be a recognizable actor forever with a broad, broad audience. Is he going to have to be 70 years old or something for a performance that's not going to be one of his best that he wins for? He plays an old grizzled boxing trainer in a, is that what you're saying? Is that what's going on? Is that what's happening here? An old grizzled boxing trainer who dies peacefully in his sleep and says a lot of swear words. Right, right, right, right, right.

Actually, no, that's not that, I think that trend in Best Supporting Actor has died. What he needs to do now. Nice dad. Nice dad. He needs to play someone's nice dad who you can feel sentimental feelings about and, you know, bear, you know, 75% of the emotional burden of the... Who will cast Ray Fines in a nice dad role? Who will get him at that Oscar? Yeah. I'm into it. I'm with it. Whatever it takes, get Ray Fines that Oscar. Okay, so the lineup Eddie Redmayne wins for playing Stephen Hawking in the theory of everything. Steve Carell is nominated. in Foxcatcher, Bradley Cooper in American Sniper, Benedict Cumberbatch

in the imitation game, and Michael Keaton in Birdman. I feel like this is an interesting like Roar Shack category because I think you ask five different people and you get five different answers on who they would boot. So this is one I kind of had to think about

and piece together who I would boot. Not for all the money in the world would I boot Michael Keyes. I'm still bummed that he didn't win. While I lo the American sniper, Bradley Cooper

is doing his best in that movie, and I understand people who like that performance. Steve Corell is I don't think he's bad in the movie. I think it's

that he is nominated over Channing Tatum has never sat right with me, and if I was going to you know, put Channing Tatum on the list for this movie, I would probably just replace Steve Carell there. Which comes down to Eddie Redmayne and Benedict Cumberbatch, two people that are absolutely loved on the internet, except for the internet.

I think Benedict Cumberbatch is fine in that movie. I think that movie is fine. Eddie Redmayne's win. The man can charm a room. I don't, I think even, like, Felicity Jones is the star of that movie, the impressive one in that movie, and she's Felicity Jones. Uh-huh. Like, not to be, she's a really good eranaut.

She's a really good eranaut. However, Eddie Redmayne winning the year of Julianne Moore, you get a Savage Grace reunion. You do. You do. Which is kind of funny. Yes. For the four of us who have seen Savage Grades. Right.

So what are we doing here? We're House Town booting Eddie Redmayne. I don't know what having that would reek on the rest of future Oscar seasons to come. Well, maybe I need to rescind this because what happens if... No, he's not beating Decaprio in the Revenant year. He's not doing it. Well, that's what makes me afraid, because if I take this away, does that mean that he wins for the Danish girl? I don't think so

I don't think anything And I feel safe doing that I don't want to You know Course correct too far I like Eddie Redmayne In The Theory of Everything I think it's

It's uninspiring biopic work But I think he's giving an incredibly Committed performance In that I get hives thinking about Steve Carell's performance And Foxcatcher So that would be my choice

But it's not my pick It is your pick So you are Well, I just, I, in, like, really weighing the options here, I was trying to think of anything in the performance that, like, gave insight into the person, the character he was playing, motivation, et cetera. And I couldn't come up with anything. I feel like it is just a physical performance to me. Sure. But even on that level, I think it's more impressive than a couple of the other people in this category.

But that's all I always say. So, again, this is your choice. This is your pick. You get it. So, all right, shall I move on? You shall. Okay. Clary, can I get one thing straight with you?

I do not see plays because I can nap at home for free. And I don't see movies because they're trash. And they've got nothing but naked people in them. And I don't read books because if they're any good, they're going to make them into a miniseries. You know, you would be a much more. contented, pleasant person if you would find ways to occupy your time.

I am pleasant. Damn it! I just saw Drum Eaton in this morning at the piggly wiggily, and I smiled at the son of a bitch, for I could help myself. 1989, Best Supporting Actress. I am choosing somebody who is an

Oscar winner by this point, and yet I had a plethora of options for movies to choose from, for her on this snub list, I am choosing Shirley McLean in the film Steel Magnolias, who lost out on a nomination to her co-star Julia Roberts for incredibly understandable reasons. It is not a surprise that Julia Roberts' ascendant movie star, who wasn't in Pretty Woman yet, but was already at least cast in that movie.

so like there's she's she's on her way up she also plays the character in steal magnolias who dies so it's not a surprise that she's the nominee i think if i'm choosing anybody from that stellar cast and i know that like you have a different opinion on this and we'll get into that um this is one of the things on the list uh gary's that we debated we did provide pushback to each other we did we debated this one probably more so than any of the others um i could have chosen shirley mclean for Postcards from the Edge, but instead that year, I went with Catherine O'Hara for Home Alone. I could have chosen her for In Her Shoes, but the In Her Shoes performance I went with instead was Cameron Diaz. Shirley McLean, to me, is the funniest performance in Steele Magnolias, a movie that is remembered for being a weepy, but is also a deeply, deeply funny movie and would not be as beloved as it is if it wasn't a deeply funny movie. She has so many tremendously funny scenes. The scene where she's trying to corral her beast of a dog while she's yelling at Tom Scarrett is

tremendously funny. I'm not crazy, Malin. I've just been in a bad mood for 35 years or whatever the span of time was. Her reaction. The locker room scene. The scene, again, the scene that's remembered as Sally Field's big breakdown scene at the end is to me the scene where Olympia Dukakis hauls Shirley Maclean in front of her and says, hey, I'm all in.

Like, that's the best part of that scene. And Shirley McLean, as Weiserbrodrow, her reaction to that, when she just goes, you are a pig from hail. Like, that's the line. You know what I mean? The, oh, what's the line about, I've got enough culture. I don't see movies

because there's just a whole bunch The trash filled with nothing but naked people in them. And I don't read books because if they're any good, they'll just turn them into a mini-ser. And it's just, oh, it's tremendous. Weezer Boudreau, the most annoying Twitter account you've ever seen. That's just every opinion of all of the awful people on Twitter. It's just a tremendous performance. And I think she brings so much to that movie in terms of comedy.

and I love watching Shirley MacLean fully dialed in to something like that. And it's also a really committed physical performance too. Yes. Because that whole line she says while she has two little mustache papers on there because she's getting her mustache wax. Well, like I said, I think every time she's walking that damn dog and she's just like barely holding on for dear life is so funny to me. I just, she's the perfect sort of like terror of the neighborhood.

and yet you still find that, you know, a little bit of humanity in her when she's sort of grilling a knell and then sort of about, you know, well, are you married or aren't you? You know, that kind of thing. And then she comes out at the end and she's just, you know, is surprisingly, you know, gracious to her. And it's a wonderful character.

It's a wonderful performance. You would have gone another way on St. So I want to give you a little bit of a moment to air your thoughts. I mean, I would have gone with Sally Field. I get it. I think it's a different category. I think then you're talking about a lead. I love Sally Field in that movie. I love everybody in that movie. I get why. I think I value maybe what Shirley McLean brings to the movie a little bit more. I feel like Sally Field achieves something in that movie that it's like, well, that's why nobody wants to really touch Steel Magnolias beyond community theater anymore. Because how do you do what Sally Field does in that movie? unless like you just copy it in which case

you're just chasing what Sally Field is doing but like Yeah Did you see the scene in Yellow Jackets this season where uh or no do you don't watch

Yellow Jackets do you My relationship with Showtime is always fraught I get it mysterious Um there's a there's a scene in Yellow Jackets this season where one of the characters

does that monologue from Steel Magnolias and it's kind of wonderful Directly lifted Yeah oh yeah like they're like performing a monologue from a movie and so I've chosen as they're eating one of the yes as they're picking really no no not exactly but anyway so the nominees that year Brenda Fricker wins for my left foot a tremendous win where people always I was talking about the fact that there are six Oscar winners in a time to kill when I was on the screen drafts John Grisham draft and the one that everybody was forgets is Brenda Fricker. Brenda Fricker is an Oscar winner for my left foot.

Angelica Houston and Lena Olin for Enemies a Love Story, Julia Roberts for Steele Magnolias, and Diane Weist for Parenthood. So here's the thing, is have I seen Enemies a Love Story? I know I've seen part of

Enemies a Love Story, but I don't know if I've even seen enough to remember exactly what goes down in that movie. And I don't necessarily love the idea of booting either Angelica Houston or Lena Olin, actresses who I love from that movie, because I have not, I genuinely don't think I've seen that movie, even though I know I've seen part of it. Brenda Fricker, my left foot, is very good.

And I love that nomination for Diane Weiston Parenthood, because it's sort of an unheralded role in that movie. and I think she's really good. I think I make the swap and swap out Julia Roberts in Steele Magnolias. You do what I wanted to do with Foxcatcher.

Basically, yes. I don't think she's bad in that movie. I don't think she's Oscar nomination-worthy. Of that cast, I put her behind McLean Enfield and Olympia Dukakis and Dockis and Dolly Parton and probably everybody but Daryl Hannah, honestly, in that movie.

I think she's just... You put Daryl Hannah dead last? Yeah. Yeah. She's so funny. Is she? It's such a comedic transformation. I will say her, Annel fades from the, like, the point of view.

Annel should stay that funny for the whole thing. Yeah. And maybe Daryl Hamlet doesn't. But I don't think I would maybe put her dead laugh. It's also so funny to me that Julia Roberts can't do a southern accent, even though she's from Georgia. It's just very, very humorous to me. Yeah, I think I do.

The fact that Julia Roberts comes back the very next year and gets nominated for Pretty Woman is good enough for me. I don't think she needs the Steel Magnolias nomination as well. So I am swapping out Steel Magnolia's Ladies in the year, 1989. Chris. Wow, pitting women against each other.

I know. Joe Reed. Cancel me. You are part of the problem. Cancel me. What do you want now? You, my friend. What for?

To conduct you. Where to? To the training center? Training for what? For another world. Okay, so I am taking us back, back, back to the oldest entry on this entire list. Whoa. Whoa.

So, listen, I previously talked about a different Powell and Pressburger movie with Black Narcissus, and I'm talking about this one that I wanted to. slot in somewhere. Couldn't really figure out where I wanted to put it. It was a matter of life and death from 1946, the Powell and Pressburger starring Kim Hunter and David Niven. This movie is fucking insane. You kind of watch it now and you're like, how did they even make this back then? How would they make it even today? It's, uh, David Niven plays a fighter pilot who narrowly escapes death, meanwhile also falling in love with Kim Hunter. She is American, he is British, the movie is somewhat propaganda about, you know,

reuniting British and American forces after, you know, or towards the end of the war, you know, as the, like, you know, resentment settlement or whatever. The movie was designed to, like, reunite Americans and British, soldiers. This, I believe, is the same year as the best years of our lives, which is like, Masterpiece, one of the greatest movies ever made, very sobering, you know, domestic drama. This is the opposite. This is, like, the movie that birthed Terry Gilliam and, you know, almost like Charlie Kaufman-esque

type of diversions into the afterlife. where David Niven's character basically stands trial in heaven for narrowly escaping death and all of this. In America, it was called Stairway to Heaven. So there's some, like, you know, confusing titles. Why? Because there is a literal stairway to heaven in this movie. And I have decided to go with Best Art Direction, Color of 1946, for Powell and Press Burgers, A Matter of Life at Depth. Some of these sets in this movie, which like, this era of filmmaking where you have actual physical sets, you have actual locations, you have miniatures, you have painted backdrops, you have all of it working together to make this movie of this insane scale and taking place in the real world, in the corporate real world, that's the same thing.

Anyway, a lot of it is set in heaven, and then it also feels like heaven on earth in these, like, lush, forested areas. The movie is crazy. I don't know how they made it then. They have these large-scale stairs that look somewhat like an escalator where they're fitting a whole ensemble on. There's a thing that looks like Pride Rock in this movie. Listen, Palin Pressburger made some. Crazy movies. This is one of the best of them.

And, yeah, I wanted to call out the sets for this movie. It's nominated against the Yearling, which wins Caesar and Cleopatra and Henry V. You're going to tell me that some cabins in the woods are more impressive than a heaven scape where it's like all these soldiers show up to heaven and they get a bottle of Coke and a bag of wings and uh you know Kathleen Byron is ushering them all to uh to the afterlife oh you don't mean like a bucket of chicken wings you mean like angel wings i get it oh no like they get like a shrink-wrapped bag of angel wings when they show up to heaven and it's like you presumably have to take it out of the bag and put your wings on it i was thinking like you show up to heaven and they hand you like

you know a bucket of chicken wings and like a case of beer or something like that and you're just like welcome to heaven go take a seat on the barca loungeer it's kind of like that yeah um yeah there's a lot that i could have called out for this movie i mean uh pitting it against the best years of our lives did not seem any fun um and also you know a lot of their team would work on other movies and I had talked about Black Narcissus previously, and, like, this would be equally worthy for Jack Cardiff's cinematography, but he wins the Oscar for Black Narcissus.

So to spread a little bit of the wealth and to just really kind of call out the ingenuity and the bonkers, you know, artful-mindedness. Sure. Of the design team, the sets were by Alfred Young, Yeah, and I'm booting the winner, the yearling. Yeah, that makes sense. Get out of here, yearling.

Fucking movies about fucking dogs. That was one of those movies that. No, yearling is a, isn't, oh, that's the deer, that's, you're right, it's the deer, never mind. But it's the same damn thing. Yeah. I saw that movie in like a middle school classroom where it's wheeled out on a TV, Breck, it's derogatory. When you mentioned Labyrinth,

That's like brackets complimentary. Well, yeah. Okay, well, if we're already going there, speaking of bonkers... Oh, shit, sorry. Of bonkers artful-mindedness. We are going to go... Cut that out, cut that out.

No, no, no, it's fine. Sarah, go back to your room. Play with your toys and your costumes. Forget about the baby. Speaking of bonkers, artful-mindedness, though, We're going to 1986, and the film is Labyrinth. One of the first movies I remember watching sort of on my own or, like, without parental, like, mom and dad are, you know, watching a movie with us, right? Like, I remember watching that movie with my cousins on a sleepover and being fascinated by Labyrinth and by everything that I'm seeing.

right. My experience with Jim Henson by that point would have been Sesame Street and Fragle Rock, right? You know what I mean? And all of a sudden, you go from that to Labyrinth, plus the fact that, like, I'm being introduced to David Bowie for the first time in my entire life. What category I'm going for here is best costume design for Ellis Flight and Brian Frowd's work in Labyrinth. Now, when this one showed up on my long list. Your comment, I believe, was, is this just for David Bowie's codpiece onesie, essentially, that he's wearing? It would be valid if it was. If you were just throwing this nomination out there for David Bowie's codpiece in this movie,

understandable. It's a codpiece in the guy, in the, in the, in, as part of this sort of one piece stretchy fabric jumpsuit thing that he's wearing. And he also, he has a cape and whatnot, but, um, and at some point he's wearing, like, riding pants, like, uh, like, uh, equestrian, uh, garb. Um, and I think he also, makes you think about really riding those. I mean, kind of, like, of course, like, he's so weirdly sexual and so much of labyrinth is this idea that, like, Jennifer Connolly's character ends up mixed up in all this because she's so in love in this very sort of, of like tweenage, you know, early teenage girl sense of like she's in love with the Goblin King. And like, what does that mean to her when she's like playing make believe and dressing

up in her princess dress and whatever and playing in the park or whatever, playing at, you know, these sort of like Goblin King fantasies? And then when she's confronted with it, the sort of, you know, the terror of it. And he's this malevolent trickster, right, who's trying to capture her in this labyrinth, and he's kidnapped her little brother. Actually, it's a really good movie that, like, has sort of gone into the bin of, like, only 80s kids, you know, love this kind of thing, and it's, it's such a childhood touchstone for people who were kids, who were little kids in the 80s, and yet, like... And now I feel like it's over-merchandized to the point that I'm, like, I can't

Sure. Do this. And yet when you think... I can't with Labyrinth anymore. But when you think about like the people who like were weaned on a movie like Labyrinth, it's like, oh, that's like, no wonder my tasted movies is sort of all over the map. Oh, yeah. But yeah, the costumes in Labyrinth are incredibly memorable. I think just being able to outfit David Bowie and everything that they outfit him in this.

But also Jennifer Connolly. Dare we say iconic? Dare we say iconic? Also, Jennifer Connolly, she does have that princess dress at a couple of different points. When she's going through the labyrinth, her costume is like 75% sleeves. Yes, it is, which I also kind of love. And I'm not sure exactly what the division of labor is when you are outfitting Muppets. But there's, of course, like a lot of different stuff going on with the different

sort of puppet characters in this movie. I almost did fantastic Mr. Fox in costume design. I think that's legit. Yeah, yeah. It's a tremendous movie, though, and I really love it. And I was glad to be able to toss a denomination. What I say, Ellis Flight, Brian Frout, and Polly Smith, I think, was also on the costume team for that one. Anyway, 1986 in costume, your winner that year is the Merchant Ivory film, A Room of the View,

which costumes by Jenny Bevin and John Bright The Mission is nominated Peggy Sue Got Married is nominated and then two of the craziest movies that I didn't really know too much about going into this

one is the Franco Zeparelli Othello which is essentially a filmed version of the opera Placito Domingo in full blackface as Othello in this movie. And then Roman Polanski's Pirates, which is...

I wonder what that's about. What's the plot of a movie called Pirates? What if Walter Mathau was like a full-on peg-leg pirate? Like, is the... Was? What if? Just watching the trailer for that movie makes my brain sort of freak out, like, the idea of like, Walt...

Like, essentially, it's like, it's Pirates of the Caribbean, but what if Walter Math out was Captain Jack Sparrow? It's crazy. So, again, a lot of costumes going on in those two movies that I think are wild. Obviously, Peggy Sue got married, the Francis Ford Coppola movie, is wonderfully costumed. And a room of the view, like all merchant ivory things, is, you know, looks impeccable, all those sort of, you know, sumptuous, going on vacation in Italy sort of costumes. I love it. The mission is a movie

that I kind of stick up for a little bit, but I think the costumes in it are probably not in the top echelon of things I would nominate it for. I think it's got a great score. I think it's got, you know, great cinematography and all that. I probably wouldn't

mention its costumes when talking about how much I like that movie. So I think the mission gets the boot. With the caveat, that, like, it was really tempting to just be like, all right, blackface Othello, like, get out of here. But just even looking at that from, like, the trailer. I was like, that's got, you know, uh, gowns.

Big, intricate, yeah, beautiful gowns, beautiful, uh, Shakespearean gowns. Yeah, so I think the mission being a movie that I have seen in being not too super blown away by the costumes. I think that's my choice. Have you seen either Othello or Pirates? no okay it's too bad mission sucks though so I'm fine with that

I like the mission okay but I think I guess we both agree on the snubbery of it so where are you going from here Christopher what do you want you you want me is that what you're saying you're my wife

so we're staying into the craft's categories, a movie that I knew I had to get on my list, and a artist I knew I had to get on my list. We're talking Best Cinematography, 2004, the late, great Harris Savitas's work for birth. How do you choose just one for Harris Savitas is the thing? Exactly, and, you know, almost did Zodiac I think in terms of you know

this was a movie I wanted on my list for for sure but his work that I think is the most impressive the one that really makes me feel like we missed so much and you know from his career being cut short

is birth there's so much with the way that he captures the city of New York and a certain section of Manhattan that feels incredibly haunted and obviously it's set during

winter so chilly etc but we're really setting the tone for this you know rather morbidly interested movie and then some of the shots are just like insane

incredible work like pulling off that close up of Nicole Kidman at the at the theater and the birthday cake shot with all those candles. I mean, Harris-Svetus has had so many other movies that we've talked about, but this one I think is pretty... This one, I think, stands at the top.

That means I'm not putting Nicole Kidman's performance in here, even though I've spoken very effusively about it. Certainly, yeah. Maybe we'll give it to that at some future point. Who are your nominees that year? Here's the other thing. The best cinematography lineup in 2004 is kind of a booger lineup. Like you could make the case for all of these kind of making sense to be there in that it is a certain type of aught's gloss.

Sure. is the Aviator wins, House of Flying Dagger's, cool movie looks incredible, Passion of the Christ, Phantom of the Opera, and a very long engagement. That's a lot of sameness blurring together, and honestly, if it weren't for House of Flying Dagger, I would probably Nicole Page Brooks this, but, like, House of Flying Diggers does not deserve that. I think the aviator looks very good. I don't know. Huh?

I think the aviator looks very good. Even if that's maybe not, you're like... I maybe wouldn't get rid of that, but like I'm not a huge the aviator fan. Sure, sure, sure. And it's just like you think about the things that could have maybe been nominated in 2004, like obviously birth. Birth would probably be my winner of that year.

Eternal Sunshine of the Spotless Mind. Like, there's a lot more interesting choices to be made and a lot more influential films and visual styles that could have been represented here that just aren't there. I think even something like Ray kind of catapults, you know, that movie's iconography in an interesting way. What am I going to boot, however? Yes. I mean, this kind of comes to a to what end type of question. Okay. Because it's kind of evil that the Passion of the Christ is, like, made pretty.

I agree. So I'm going to boot the Passion of the Christ. Not just for the, like, simple reason of, like, it is a tool of destruction in the world, but also just, like, why does this need to look so glossy? and, like, why do you need to make the fanciest snuff film ever made? I think, yes, I agree with you. I think the fact that both the Phantom of the Opera, the fact that Phantom of the Opera is skating by on this should feel very, very fortunate.

Like, Phantom of the Opera is sort of tiptoeing past and hoping you don't notice. I mean, it looks fine, but if a movie looked like that and it wasn't one of the most name, The most recognizable named musicals in the world? Would it get that nomination? It absolutely would not. It's also bold to call your ponderous costume drama a very long engagement. Like, you're really just asking for it at that point. That movie is boring as hell.

It's so boring. I remember sitting through it in the theater and waiting for the movie to begin. Yeah. Two hours into it. The major set piece of that movie is Jody Foster speaking in French. and... Yes. Yeah, exactly.

But she's still talking about the value of American movies, even though she's speaking in French. It's kind of fun. American movies. Cinematique American. Yes, thank you, Joey. Yeah, good choice, though, birth, cinematography. What have you done to it?

What have you done to its eyes? Speaking of movies where the actress has an iconic pixie cut, however, I'm going to transport us to the year, 1968, the city, New York, the building, the Dakota, the devil, you betcha. We are talking about Rosemary's Baby, which should have been a best actress nomination for Mia Farrow in 1968. Mia Farrow has never been nominated for an Academy Award, which is kind of surprising, considering her sort of storied career in celebrated movies like Rosemary's Baby and Hannah and her sisters and such. She was a BAFTA nominee that year. She was a Golden Globe nominee for Rosemary's Baby.

She ultimately misses out on a rather iconic Oscar lineup, which we'll talk about in a second, but I want to talk about the performance, which is, um, heightened horror perfection. I think she plays terror so well. You talk about like the great scream queens or whatever, you know, you're Jamie Lee Curtis's and Nev Campbell and scream and whatnot. Mia Farrow's over the top but just perfect reactions to so many things that are happening in Rosemary's baby is really, really grabs you. Obviously the nightmare scene where she's raped by the devil her reaction is

so much a part of how crazy making that scene feels like as it keeps going on and you're just sort of like you're trapped in there with her obviously her scene at the end of the movie that has clipped all the time you know what's wrong with its eyes what have you done to its eyes

but even the sort of quieter scenes where she's you know being manipulated by her husband and by Ruth Gordon and watching her sort of like steadily growing paranoia and terror.

It's just a really tremendous movie and it's a tremendous performance and it's one of those ones that like sticks, has stuck with the culture. You know what I mean? For years and years and years. And the longer it goes, the more you look back and you're just like, wait a second,

was that really not nominated? Like, you know, Ruth Gordon obviously wins the Oscar that year for Rosemary's Baby. So like that was a movie that was definitely on the Oscars radar. And it's puzzling. There was, of course, at the time, I did this 1968 Oscar race

for Kevin Jacobson's podcast recently, and so sort of dug into the 1968 Oscar year. And there was a lot of tabloid-y stuff with, like, Mia Farrow's relationship with Frank Sinatra, and it was falling apart and all this, and did that impact negatively. He served their papers on set of the movie.

Yeah, did that impact negatively her chances for a nomination. Sometimes that kind of stuff helps, right? Sometimes that kind of stuff gives you a little bit of sympathy within the industry, and in this case, it didn't. The nominees this year, so this was the famous tie. It's a tie. Ingrid Bergman, delightful hand to her face.

Barbara Streisand and Catherine Hepburn, both tie for best actress, Streisand for Funny Girl, Catherine Hepburn for The Lion in Winter or Lion in the Winter as Ingrid Bergman famously said Lion in the winter Two tremendous performances The other nominees were

And I've watched this clip a billion times So I can probably recite them for memory But it's Patricia Neal In the subject was roses Vanessa Redgrave and Isadora Joanne Woodward for Rachel Rachel So I did This year for

And the runner up is And I was able to watch for the first time, both Rachel Rachel and Isidora. I had seen the other three movies. Already, Joanne Woodward and Rachel Rachel's so good. Have you seen that movie, Chris? I'm going to watch it. This was my thing when the last movie stars was on.

I was like, why are not all of the fucking Joanne Woodward movies immediately right here? Rachel Rachel is currently available, so I'm going to. It's such a good movie. Her performance is so good. I was so, so, so happy to sort of have that movie in my life now. It's really tremendous. I had also sort of, I'd watch the last movie stars and thought, like, I have not seen nearly enough Joanne Woodward movies, just in general. So I was glad I was able to add that one.

Patricia Neal is good in The Subject Was Roses, a movie that feels very, very much like a stage adaptation, which it was. Patricia Neal was sort of coming back from having had a stroke in her real life, so there was a lot of sentiment on her side, but she's also quite good in the subject was roses. And then Vanessa Redgrave in Isadora, who this is not a bad performance. She's actually pretty good. Isadora is a weird movie, and easily, I think, the least of these five movies. And I think while in a vacuum, I'm like, yeah, that's a fine nomination for Vanessa Redgrave. She's playing as Adora Duncan. She is, you know, this fiercely committed artist and ultimately sympathizer of the early communist movement in Russia and all this sort of stuff. Stacked up against Mia Farrow and Rosemary's baby, it's kind of no contest.

So I think I nudge out Vanessa and move in Mia Farrow for Rosemary's baby. Any other things who love listening to long episodes of Joe Reed, go back and listen to that episode of In The Runner. It was, we had a leisurely long conversation, but it was a really, really fun, and I loved. I loved every minute of it, so that was super fun. Chris, anything to say about Mia Farrow before we move on, Mia Farrow on this movie. Tremendous performance. All right. What do you have next?

Belongs on this list. Then I start the menopause and the lump got bigger from the hormonies it started to grow. So I go to the doctor and he did the biop, the, the, the, the, the bupopsie. And inside the lump, he found teeth and a spinal column. Yes, inside the lump was my twin. Spani Coppita, you hungry? Hard pivot. Yeah.

You mentioned Ruth Gordon's amazing performance in Rosemary's Baby. This is somehow an even more satanic twin to that performance. You say twin, huh? Yeah. Best Supporting Actress, 2002. I'm calling it for Andrea Martin in my Big Fat Creek wedding. She'll make lamb. That's, you know, she'll make you lamb.

She will make lamb. Tati they look Greek or Taki they look Greek. That's what the Blair Witch left for Heather. It was Andrea Barton's twin. That's what was wrapped up in the flannel. And a spinal column. Yeah. Oh, my God.

Andrea Martin's so funny in this movie. It is very strange to me that nobody materialized as just a supporting contender for that movie. I mean, you have obviously Andrea Martin who I think it should be but also both of the parents as well could have shown up. It's just, it's the type of movie

that they're you know, and in these comedies, these movies that are hits and ensemble movies that there normally is a supporting player in there. Andrea Martin is a fucking living legend. Andrea Martin not having an Oscar nomination when it's like, it could have happened for my Big

Pat Greek wedding when it's like, yeah. Listen, I think 50% of that movie's box office gross is owed to Andrew Martin in that movie. I mean, obviously, the other 50% goes to Nea Vardalos. And, you know, they can work together to make sure that all of the people, everyone involved in the movie gets their fair share. We are pro-union on this podcast. Pro-union talking about the writer's strike when it's like, well, Nea-Vardalos wrote that movie, so she's going to get her cut. Anyway, anyway. Anyway, anyway.

Andrew Martin is so good in that movie. It was such a huge hit. It was a big enough hit that it got a... She gets probably the top three biggest laughs in the movie, too. And it's a big enough hit where it gets essentially a screenplay nomination based on public acclaim. You know what I mean? Yes. Because people were not kind to that screenplay nomination. Critics did not care for that movie.

Everybody was looking down their damn nose at it. And if you are of the opinion that that script and... And that movie as conceived is a little basic or, you know, whatever. I think even of that opinion, it's easy to see Andrea Martin sort of transcending all of that with just this. I mean, that's what you go to Andrea Martin for, right? This deeply committed. The scene where, or no, wait, I'm thinking of Lainey Kazan.

It's Lainty Kazan who does the, she can't pronounce bunt, right? she keeps going abhorne lany kazan in that scene is so funny because like she's just putting on this like i am an ethereal gifted bastion of benevolence in that scene and she's like oh hello to her daughter's future in law oh it's a cake yeah thank you and then walks away immediately drops it there's a hole in this cake But no, it's, Andrea Martin has the, what does he, what do you mean you don't eat meat? Tell me what to say, but don't tell me what to say. She's so good. Andrea Martin, just like, top tier comedian, yeah, that's great. Giving you these massive laughs in this movie, is it broad, yes, have broader and, like, Bad performances been nominated for Oscars?

Yes, absolutely. I have no room for the snobbery. Again, bringing up an iconic lineup. Not only is Best Actress in 2002 top tier, but so is supporting actress as well. Catherine wins for Chicago. Kathy Bates for About Schmidt, Queen Latifah for Chicago,

Julianne Moore for The Hours, and Merrill Street for adaptation. so where do you do it's kind of an obvious choice for me and it's kathy bates for about schmidt like yeah i love kathy bates so much so i don't want to boot kathy bates here but but there was like kind of a backhandedness to the appreciation there was there definitely was performance where it's just like oh she's so bravely points and it's like well no like i don't know right We love Kathy Bates. I don't think she's bad in the movie.

I think that, you know, there's just no way that I'm booting anybody else in this lineup. I think you're right. There's, you know, she's naked in the hot tub scene in that movie and everybody sort of rushed to, again, I think you're right, backhandedly compliment the bravery of that all. And it's like, she's a human being with a body. Like, you know what I mean? I mean, like, and it's all. Also, maybe the movie is also poking fun at her, too, in a way that I don't like. Sure. Sure.

That, you know, if anything, it's like, well, I guess you were brave to do that in a movie that is not on your side. Sure, sure. Yeah. You know. I think Kathy Bates shows up to work, as always. But I think, I think given the competition, there's something to me about the category fraud of Julian Moore, but I still think it's such a good performance that it's not like I'm going to punish something from the hours for that. Where are you taking us?

You'd better tell it, Captain, we've got to land as soon as we can. This woman has to be gotten to a hospital. A hospital. What is it? It's a big building with patients, but that's not important right now. Let's take a trip via Aire line for the best original screenplay category of 1980. We're sticking with the comedy should get more credit theme. of the last pick, and I am going with Best Original Screenplay for the trio of Jim Abrahams and David Zucker and Jerry Zucker for the movie Airplane, which is to me a

perfect comedy script in that it is wall-to-wall jokes. And it's not, they're not, this is not a vibe movie. This is not a hangout comedy. This is not an Apatovian. sort of, you know, put Paul Rudd and Seth Rogen in a scene and just let them riff off of each other, right? These are jokes on a page, like set up punchline back to back to back to back, to back, right? The ones that are so famous, right? You know, don't call me Shirley. But there's just the more absurdist stuff with, you know, that's when I started having my drinking problem and what's a drinking problem he you know can't he can't get the drink to his mouth he like puts the drink in his eye and whatnot um just so many the the different you know all the

different passengers with their you know their each little thing and julie haggard he's got like eight billion good jokes and then on the ground right uh you know johnny what do you make of this and well i can make a brooch and i can make a taradactyl and you know it's just like it's again it just does not give you time to take your breath. Even from the very beginning, they show up to the airport and it's like the airport intercom is having that argument about

like the white zone has always been for loading and unloading and then it escalates to like, I know what this is about. You want me to have an abortion. Like it's a movie that I watched when I was in high school and ended up, it was like that movie for me in high school or like I quoted it all the time.

I was like that obnoxious a kid. But it's so fucking funny and it's so, you know, well-written and so dumb and, like, perfect dumb comedy. And back in the day, it was nominated for, you know, Bafta, right? And, and the Writers Guild. And it did get its share of attention in a way that you wouldn't necessarily think, as the years went on, sort of these, like, spoof movies, right? It's, you don't think of a movie like Hot Shots, right, as something that would be a BAFTA nominee or would be a writer-skilled nominee. And part of that is a testament to how good airplane is within its genre. It's also a

testament to maybe that movies like that were given a little bit more respect back then. But like, whatever was the case, it's so correct, right, that this movie to me is nominated. What is your experience with airplane. Did you watch airplane when you were younger? Did you not come to a till later? We've watched airplane together. I do like airplane. This is one of the options that we talked over and you make a good case for it. I also think the nominees in this category make a good case for it because it's just not an exciting lineup. I also think it belongs in original as you've chosen instead of adapted because it's like, well, yes, you could kind of say as a spoof of the airport movies that

it's adapted. However, Airplane is Airplane. It was, that's right, because its Writers Guild nomination wasn't adapted, which like. But I also think like this is, it's a spoof, but it's its own thing. It's not even like Mel Brooks spoofs that are so directly associated to that. Airplane is, like, 30-second sketches constantly in the framework of this is what we're making fun of. Right. But, like, it's not directly pulling airport references, you know? Right, exactly. Exactly right.

Give us those nominees, though. Oh, gosh. So, original screenplay in 1980, Boa Goldman wins for the script for Melvin and Howard. Other nominees are Christopher Gore for fame. Nancy Myers, Harvey Miller, and Charles Shire for Private Benjamin, W. D. Richter and Arthur A. Ross for a movie called Brubaker, and Jean Grout. Oh, God, help me with my French pronunciation.

Groutts for Monocle de Merique, essentially, my American uncle. I've only seen of these movies, well, I've not seen Brubaker, and I've not seen my American uncle. And I don't want to boot any of the other ones. is the problem. I'm certainly not booting Private Benjamin both for the movie that it is and for the fact that it's

Nancy Myers and Charles Shire writing together. I didn't love Melvin and Howard. I like Melvin and Howard. I think Melvin and Howard's a good movie. Not an exciting screenplay winner, though, to me. Maybe not as a winner, but like, I think as a nominee,

I think it's at least fine. Fame is an interesting nominee for screenplay Even though I love everything about fame So I'm definitely not getting rid of it Even though it's a long movie And it's a little bit of a meandering movie But I love, like I said, pretty much everything about fame So I'm not getting rid of it

So we're stuck with the two movies that I haven't seen And I don't necessarily like to boot things From a movie that I haven't seen But I'm kind of up against the while I do not have time to watch Boot the sports movie wait which one's the sports movie isn't bruebaker a sports movie no he's a prison warden oh it's robert redford uh robert redford plays a prison warden um Morgan Freeman is in this movie a very

early Morgan Freeman movie making this a pre uh an unfinished life uh movie um but so my American uncle is uh a Gerard de Pardue starring movie that again I haven't seen so what am I to do here I looked up the reviews and Brewbaker got a negative Ebert review so I'm maybe going to go with Ebert there and

boot the Brubaker which just watching from the trailer seems a little bit cliche which like is a shallow way of doing this and again if I had more time I would have tried to watch these movies I know come at me Brue Baker fans but you know who was having a pretty good year in

1980 was Robert Redford, who would win best director and best picture that year for ordinary people. So I think Redford can take the snub for one of his movies in this case. So booting Brubaker and slotting in Zaz, Zucker, Abraham's, and Zucker for Airplane, even though I think at least one of them has become obnoxiously right wing in the years since then, but I'm not going to dig into that too much. Airplane, great screenplay. Chris. Oh my God, Joe. Someone's yelling in the basement.

We need to run downstairs to the basement. Where are these hands coming from? Wait, who's that in the corner? I recognize those handprints as our beloved guest, Richard Lawson's handprints. So why don't we take a call from Richard? Hello, Joe, and Chris. Happy Snubs Month. This is Richard Lawson, calling in to address one of the most egregious oversights in recent Academy history.

Let's travel back to 2011 when, for inexplicable reasons, Kate Hudson was completely overlooked for her masterful turn in the decidedly unmasterful romantic comedy something borrowed. It's a great feat to wrestle an interesting, nuanced performance out of a movie that is anything but. Hudson manages just that, turning a bitchy best friend role into something of substance, both amusingly awful and, in the end, strangely sympathetic. The scene in which her character finds out that her fiancé and her best friend have been sleeping together behind her back is Hudson at her best, a flurry of anger and hurt that presents a full human being rather than just a mere trope. And the last scene of the film, a wistful goodbye or a wary hello, depending on how you look at it, beautifully reminds us of all the nonverbal wonder of Hudson's performance in Joe's beloved, almost famous. Had I been in critics group at the time, I would have voted for her in every round,

and I would have almost assuredly been the only one. But it wasn't meant to be. If I could go back in time, though, and take one of the nominated actresses out of the supporting category and put Hudson in, who would it be? Obviously, Octavia Spencer won for the help. Jessica Chastain was nominated for the help as well. Maybe my favorite performance of hers still to date.

You had Janet McTeer for the documentary Albert Knobbs, Melissa McCarthy, a rare comedy domination for bridesmaids, I wouldn't take that away. So what does that leave us with? Bernice Bejou in the artist. A movie that, to be honest, I have never seen. And probably will, at this point, out of principle, never see. And we all know, if I haven't seen it, it doesn't exist.

So it's very easy to take Bejo out, put Hudson in. That's how it should have been. Maybe if we ever have a time machine, we can correct this great wrong. Anyway, thank you for asking me to contribute. I can't wait to hear more. of your snubs and your listener snubs. It's a very exciting month for us all. Thanks.

I was going to be so upset if it was anything else. Yeah. True to brand, true to claims he has made before. I need to catch up to this performance. He's absolutely right about it.

I think it's an underrated rom-com mostly because of her performance in it. I think she's really good. But it's one of those performances and movies where I think of Richard specifically when I think of that movie because he's been so

forthright in his love for that movie and I love movies like that where a critic supports something to the point where like I find them synonymous with that movie. I like that Richard and I both agree on booting Bernice Bejou. I mentioned it when I got

when I slotted in J. Smith Cameron for Marguerette so clearly we are on the correct way of length. We allow, we allow overlap with the guest. That's right. That's right. Thank you, Richard, for that submission. That's fantastic. All right, Chris, I feel like we could come up with a sizable list

of Oscar history where there are supporting performances nominated in shitty rom-coms. And even, like, shitty rom-coms, like a touch of class being nominated for Best Picture. There you go. Yeah. So, the Academy has done. If anybody wants to upturn their nose had a rom-com... Come at us!

The Academy has done worse. Exactly. All right. Where are we going next, Chris? Why you want this person dead? Go fair. Reson privy. This person harm you?

Others in my family. I will give you something to protect you and your family from this person. I want him dead. More lily-a-mo! So we are going backwards to the 90s for a movie that is appreciated much more now than I think. I mean, it was appreciated at the time. I think it was. Somewhat came away, faded away, and then came back strongly.

I want to talk about Best Director in 1997, and I want to call out Casey Lemons for Eves Bayou. In the movie, it is set in the South. It is very Gothic. It is Journey Smollett witnesses her father having an affair, and it kind of unravels her, not unravels, but like it is an awakening of awareness to both her family and the world that she is in and somewhat to her imagination of this affair. And Casey Lemons, I think, is one of the directorial debuts of the 90s, one of the big ones that, you know, when she came back, In recent years, I think we were hopeful would have the same power, and she's, you know, maybe moved towards, like, more, like, broader movies that are just, you know, meant for wider audiences. And this is such a specific, you know, version of this, like, type of coming of age story that is so rapturous. all of the performances are amazing

have fucking Lynn Whitfield who is just like goddess on screen one of the best child performances from Journey Smollett and also Debbie Morgan is great and

I mean it's also still stands that a black woman has never been nominated for best director she is obviously someone who would have been a worthy person all the way back in the 90s and certainly one of the celebrated debut filmmakers of the 90s as well because like she wins

the first feature prize at Indy Spirits National Court of Review calls her out it was a Sundance movie it's not like this movie didn't happen her version of the movie wasn't what made it to theaters and now it's available in in her director's cut and I think you know it's one of those movies that we give more of its due now than we did at the time. And you can somewhat see, you know, it's also happening in the juggernaut year of Titanic, too, which kind of swallowed everything that isn't LA confidential. Yeah. It's also my sworn duty to mention that Debbie Morgan celebrated star of all my children, one of the, like, most popular characters on all my

children kind of ever so well I was I debated where to place this as a snub and I thought about Debbie Morgan's performance because she's phenomenal um and kind of in a in a surprising way the standout of the movie as far as you know where it takes you um in an unexpected way um so obviously James Cameron wins nominees are also Peter Cataneo for the full Monty Adam McGoyan for the sweet here after Curtis Hansen for L.A. confidential and Gus Van Sant for Goodwill Hunting. I think it's Catanio. I think going by the way Sigourney

Weaver pronounced it when she had announced Well, I mean, the infallible Sigourney Weaver. I think she was the one who announced the Oscar nominees that year, I'm pretty sure. Anyway. This is also, you have two? Two? No, just the one. Just Adam Goyan is the loan director nominee instead of as good as it gets for Jane Selle Brooks.

Yes. I think it's a good category that year. I think it's a strong category. It's a pretty strong category. I don't love the idea of booting the Fulmonte here. Sure. I don't, I, you know, comedy nominations especially in directing, I love. However, I feel like booting any of the others feels incorrect at the same time. So I think I have to boot the Fulmonte. I think that's ultimately where I would go to. I like, I love L.A. Confidential. as much as I should. Yeah. I think the sweethear after is a great nomination. I'm glad Adam Goyan has that. And I am a pro-goodwill hunting person.

I'm pro-Gus Van Sant, too. Yeah. Oh, yeah, definitely. But Casey Lemons, I would love to see, you know, not to dog any of the, like, biopics that she's done. I would love to see something as personal as this movie is, as, you know, unique as of its own point of view as this. Yes. I agree. Come on then.

Not more men impressed with conversation. True gentlemen avoid it when they can. But they don't ensuing and fall on a lady who's withdrawn. It's she who holds her tongue who gets a man. Come on, you poor, unfortunate soul. Go ahead. Make your choice. I'm a very busy woman and I haven't got all day.

It won't cost much. Just your boy. I'd never put two and two together. I'm glad you're doing this. Well, okay, so 1989, obviously the, like, big sensation in the animated field

that year was the Little Mermaid. Disney's big comeback movie, the Disney Renaissance sort of begins again with The Little Mermaid. There is no animated feature category that year, but it certainly would have taken that one in a walk. We hadn't quite gotten to the point of animated movies being nominated in Best Picture, that would happen with the next Disney movie with Beauty

and the Beast, but The Little Mermaid was acclaimed on that level. So it would begin the period of dominance of Disney over the original song category, which would happen basically throughout the 1990s, and nominated twice in that category that year for Under the Sea, which ends up winning, and Kiss the Girl, which is a fine song. Not even part of your world. That's the thing. The two best, well, no, under the sea is legitimately tremendous. Like, I have no quarrel with that whatsoever.

But, yeah, part of your world could have been my choice for snub, but I'm not even choosing that one because even more egregiously snub that year is poor unfortunate souls. The villainous anthem performed by Pat Carroll, written as the other songs were by Howard Ashman and Alan Mencken. it's the best song from that movie it's the best song from i think any disney movie it is the best song ever sung by a villain it's the platonic ideal of the villain song in a movie like it's so delicious it's so i mean people this this song and the character of ursula has been

sort of like claimed by queer audiences in the decade since that movie as we've sort of, we've, we've claimed Ursula as our own, which is like, which is true in that like a lot of Disney villains, she was queer coded, right? The haircut and the, the, the husky voice and the sort of, um, she's not sexual with Ariel, but she's sort of like, um, she's sort of like, um, she's too slutty to be contained yeah she's got two

circuit gays as her minions one million percent um one million percent true I still I'm on board with Bowen Yang and Matt Rogers on Les Coltristas I think it should have been the cock destroyers

neither fine fine true flotsam and jetsam iconic gay acolytes but yeah justly reclaimed by queer audiences, but also it's just so delicious.

I have performed this song at karaoke a plenty. I have done this. And it's my favorite song to sing at karaoke of anything. It's so much fun to do. So you're saying you admit that in the karaoke past, you've been a nasty. I've been a nasty. Yeah, yeah, yeah.

Yeah, they weren't kidding when they called me Willowidge. Yeah, it's so much fun. It's, again, brief but impactful and I think it's head and shoulders about everything else. So the question... Do you think Melissa McCarthy will

be at Sherry Renee Scott's level? Where do you think this is going to fall? I think it's a thankless task right? I think nobody wants this. Like I don't want to dog it. There's so many people involved with this movie that I'm like, I don't want to dog on this

but why are we still here? This should have died in the pandemic. COVID should have taken away the Disney live action remake. This isn't, no one wants this. It's going to make $900 a million. The fact that a bunch of dumb racists jumped on this movie as their, you know, bet noir and decided that this movie was endemic of all of the awful things that wokeness was doing to whatever has put the rest of us in a position where we're like, like, y'all are wrong. and y'all are stupid and whatnot. And yet at the same time, we look at the, like, trailers for this movie, and you're like,

and yet it just looks bad. It just looks like, you know, and there's no real reason to be doing these live action remakes. And yet I almost- And I'm just tired of looking at a movie and being like, this is, this exists for no reason other than being a printing press for money. Yeah. Anyway, anyway, anyway.

Yeah. Anyway, all right. So, anyway, the nominee is in 1989. So like I said, Under the Sea wins. Kiss the Girl is also nominated. Part of me feels like maybe doing the steel magnolias thing and just swapping out Kiss the Girls for Poor Unfortunate Souls because Poor Unfortunate Souls is so much better than Kiss the Girls

or Kiss the Girl rather. Yeah, this is not James Patterson. No. Ashley Judd singing the theme song from Kiss the Girls. The other nominees that year, after all from the movie Chances are, which is performed by Cher and Peter Satera, there's no fucking way I'm getting rid of that song. Not on your fucking life is Joe Reed going to boot that song. On your life. Another song I have performed to karaoke and had the best time doing. The Girl Who Used to be Me from Shirley Valentine, which is a movie I have finally acquired but still haven't watched yet. I'm kind of dying to. I know I'm going to love this movie, but I need to watch it. I've listened to the song as performed by Patty. Austin. And, like, it name-checked the character of Shirley Valentine in the first lyric, in the first line of this song. So immediately it was like sold. It's also, uh, music by

Marvin Hamlish and lyrics by Alan and Marilyn Bergman, which were the team that did the way we were, uh, that wrote the way we were. So like, I'm not getting rid of the girl who used to be me from Shirley Valentine. Uh, so what's left? The girl who used to be me sounds like the AI version of I've never been to me. Also, just looking at, you know, everything that I've learned about Shirley Valentine with still not seeing it yet, it is a little Mrs. Harris goes to Mekanos a little bit. Like, it's, you know, that sort of seems to be the plot of that,

which God bless. So who's left in this category, but our old pale Randy Newman, who is nominated this year for, I love to see you smile from Parenthood, which is a song that feels like has always existed in TV commercials and has never not existed in TV commercials.

and like almost everything else that Randy Newman has been nominated for in the last maybe 20 years at least feels like even though this came before you've got a friend in me from Toy Story still feels like a knockoff of you've got a friend in me even though it came beforehand

everything else that Randy Newman sort of has done recently that has been nominated feels like oh it's just you've got a friend to me we would have been so much better off had that song just won when it could have.

You know what I mean? So I think I'm getting rid of I love to see you smile. Which is kind of a trite-twee little song anyway, right? Sure. Where would you go here? I'm curious.

It's tempting to get rid of Randy Newman simply because you know, there's a lot of bad will that I like poking the bear at for people with all of his Oscar nominations. But, like, that is, for better or worse, one of his more iconic nominations. It is.

I don't know. I would probably go with a wealth-spreading replacement of Kiss the Girl. Yeah. I just think if you're going to give a movie three song nominations, the Little Mermaid isn't a bad one to do. You know what I mean? And still not nominate part of your world. And not have part of your world.

I know. It's crazy. It's crazy. it's crazy all right uh moving on what is your next selection so what happened were you bored in manchester was a bored no i wasn't fucking bored i'm never bored that's a trouble with everybody you're all so bored you've had nature explained to you and you're bored with it you've had the living body explain to you and you're bored with it you've had the universe explain to you and you're bored with it so now you just want cheap thrills and like plenty of them and it don't matter how

tardry are vacuously are as long as it's new as long as it's new as long as it's new as as long as it flashes and fucking bleeps in 40 fucking different colors or whatever else you can say about me. I'm not fucking barred. Okay, so we are going back to another acting race. I feel like I've done too many performances. No, you're fine. This is one that I felt strong about that really was like never in wavering of coming off this list. Best actor, 1994.

for a lot, there are a lot of Mike Lee performances I wanted to get on this list. There was, I probably had, in my first draft, well over 100 potentials. I probably had close to 10, like, Mike Lee people I wanted in. But I want David Thulis for Naked on this list. You know, when people talk about like Mike Lee now, we think of these. like happy go lucky another year these kind of winsome movies or you think about these like behemoth period pieces like uh peterloo vera drake topsy turkey mr turner yeah naked is not so much of an anomaly of his earlier work but like one that you know i think his fans talk about a lot because it's a really powerful movie uh but it's deeply unpleasant a David Thulis is basically playing this, like, kind of ne'er-do-well miscreant, who you are constantly questioning your allegiance to watching because he does behave badly, but then also, because it's a Mike Lee movie, you see his place within a certain system, and David Thulis is just absolutely fucking tremendous. It's that Mike Lee thing of creating a reality that is.

so believable and creating a person from like their feet up their entire solar plexus and who they are and this is obviously a very troubled man and like down to the last shot of this movie it's a performance that keeps you very very much on edge and you can see why the academy would be like absolutely not to this even though this movie you know it there was a critical rallying around, especially this performance. You know, he wins New York Critics National Society. It all began in Cannes. He was a Cannes winner.

And this is also someone who has otherwise never really gotten their due to the point where it's like if he got an opportunity to have a role like this again and people were reminded that the performance in Naked still exists, I think, you know, you could have a real potential for someone to just kind of run a season, just because we take for granted how good he is, and I would love to see him with Mike Lee again. This is the first Tom Hanks Oscar year. This is when Tom Hanks wins for Philadelphia. The other nominees are Daniel Day Lewis in the name of the father, Lawrence Fishburn, what's love got to do with it, Anthony Hopkins and the remains of the day, and Liam Neeson in Schindler's,

I would go so far as to say David Thuleus is kind of heads and shoulders over all of these really great performances. I was going to say it's a good lineup. It is a good lineup to the point where I feel like I'm probably picking on what my boot options would be, and that would be down to Daniel Day Lewis and Liam Neeson. Liam Neeson, who it's not a showy performance and it's like it's a performance that kind of steps up when it has to and still doesn't quite get there

and with a purpose to that. You know, it's not, he's not playing someone who is a, who functions well as a hero and communicates well as a hero. And I think the limitations of that are, you know, intrinsic to the performance so I don't want to always pick on it but I and I also don't

you know you boot that and Liam Neeson has no Oscar nomination right right but then you also have Daniel Day Lewis who I actually think is really good and I think he's elevating that movie in the name of the father but it's also like one of the Daniel Day Lewis performances we never

talk about certainly among his nominated performances and it's There's clearly a lot of passion behind it and a lot of national passion in the making of this movie. It's a Jim Sheridan movie. But, you know, it's about as straightforward of a Daniel Day Lewis performance you will ever see. So it's also like, are you judging it against his career or just for the performance? Yeah.

And I mean, the man has three Oscars. I'll take it away from Daniel Day Lewis. Sure. Yeah. I think I agree. with that one. I think the sentimental reasons to keep Liam Neeson. He's great in the movie. He's great in the movie. Yeah.

Their skin changes colors. That's why we couldn't see him that night. Tell me something, Morgan in his book of yours. They happened to detail what would happen if they were hostile? Yes. Said they would probably invade.

I'm doing a cinematography nomination, another cinematography even after I have admitted in previous episodes that I do sometimes struggle between differentiating cinematography and directing. I pledge to learn and grow and all of that good stuff. I am nominating from 2002 Tak Fujimoto for Best Cinematography for Signs. The thing about Tak Fujimoto as a cinematographer is he's never been nominated for an Oscar, even though he has done cinematography for such films as, oh, the Silence of the Lambs and the Sixth Sense, and Badlands, which is his first cinematography credit.

He shares it with two other people, but began his career as an assistant to the great cinematographer Heskel Wexler, like, such a fantastic pedigree. and um the cinematography in signs is so fucking striking right like the

obviously the exterior shots with like the cornfields and and whatnot but like all this stuff that's happening inside that house right the you know the way that

certain you know things come into focus in that house the water glasses all over and the different sort of portents Joaquin Phoenix you know hold up in that closet watching you know the TV and

the scene where Mel Gibson goes into I guess it's the house of the M. Night Shyamalan character right it's after he leaves and that's where he finds the alien in there and everything feels so perfect right like everything

that's where I think the kind of the Hitchcockian comparisons that this movie sort of drew come to is everything looks pristine and beautiful and yet lurking behind all of this is these aliens who are going to sort of like change everything right and I'm just mesmerized by the sort of the temperature and the tone of the the temperature and the tone of the these shots, these very sort of golden Midwestern shots into which these alien invaders are coming. And there's some great nighttime cinematography going on in some of the earlier scenes. And I think it's a beautiful, beautiful movie.

There's a certain visual quality to it, too, that it feels like it's a movie that could have existed in, like, any type of, any decade ahead of it. Like, it could have been a Capra movie or something. I think Fujimoto brings to the movie. Which is a great tandem with M. Night Shyamalan, right? There's a Norman Rockwell-esque quality of Americana that's brought to the movie. Yeah. It's just, it blows my mind that Fujimoto's never been nominated given, I mean, how do you nominate the Silence of the Lambs for all the Oscars that you do and not give anything to the cinematography?

That movie looks so, like the dread of that movie is so much in. in, you know, the lighting and the dread of it all. Anyway. The way that he shoots that movie, too, is so incredibly disarming every time that you watch it in a way that still, I think, gets under-discussed even in terms of Demi. Like, we talk about the Demi close-ups. Yes. But even, like, the sort of the angel carcass scene, right?

That the one body is sort of, like, splayed out. And, oh, it sounds like. But I wanted to go to something that wasn't quite, you know, the sounds of the lambs has been justly rewarded everywhere. And I wanted to give something to signs because it's one of my faves. It's up there with my very, very top M. Night Shyamong movies. Anyway, the 2002 cinematography nominees, that was the year that Conrad L. Hall wins his posthumous Oscar for Road to Perdition.

Other nominees that year were Dion B.B. for Chicago. Ed Lachman for Far From Heaven, Michael Ballhouse for Gangs of New York, and Pavel Edelman for The Pianist, which is a good collection of cinematographers, right? Like, that's some talent in there. Obviously, I love Rotter Bredition. I love Rotter Pritian more than most people do, and I think it looks tremendous. Far from Heaven looks tremendous. For all of the problems that I have with Gangs of New York, I think that cinematography is really good. The battle sequence especially.

Yeah. So it comes down to Chicago, which is a movie I love, but maybe for so many more things than necessarily the cinematography, which isn't bad, but maybe gets overshadowed by a lot of other things about that movie. And then the pianist, which is a movie that just has faded from my memory almost entirely, which I remember the cinematography. of that being very appropriately sort of sparse and yes grays and chili and that whole kind of thing

I don't know I'm not trying to direct you in a certain direction but I do think I understand why it might be easy to reduce the cinematography of Chicago however I think some of the lighting niftiness of that movie and just the

flat fact that there are images in that movie that are entirely indelible to cinema culture at this point, I think. I think that's right. I think for the Selbok tango scene alone, I think, probably earns that nomination.

So I am booting Pavel Edelman for the pianist from 2002. And throwing in Talk Fujimota for signs, it's only right and correct that I do so. All right, Chris, this is your last selection for part four. Black eyepiece have calcium.

All the calcium in the world ain't got to make up for this nasty. It might have made up for your broke arm. Oh, come on, Ma'am. I broke my arm because I just got hurt. Size, this is gross. Nasty. It is not nasty. Everybody else likes it.

You're going to eat. Ending this episode with a bang. Coming full circle somewhat to how I started it. We're talking Best Actress, 1994. We're talking another Spike Lee performer. One of our favorites on this. this show that we had several options for how to get her into this movie and I felt very strong or to get her onto our list and I felt very strongly that this is the one. I watch this movie

and I don't understand how this wasn't a thing. I am talking about Alphrey Woodard in Crooklyn. I first of all, fucking love Crooklyn. It's this has got to be one of your top two or three three Spike Lee movies, I would imagine. Absent Malcolm X and do the right thing, it's my favorite Spike Lee movie, period. If you don't love Crooklyn, my assumption is you haven't seen Crooklyn. Crooklyn is a coming-of-age story loosely based off of his own life, but the protagonist is the daughter of a family who the parents are obviously played by Alphrey Woodard and Delroy Lidot. It is, I mean, it's the ladybird before ladybird. I mean, I think those movies go.

They're very different, but they go very in tandem in my mind in terms of the type of emotional response that they get out of me. Alphrey Woodard, I certainly won't spoil it for people who haven't seen the movie. There is an emotional element to her portrayal of this mother. And there is part of the movie where she does go away because the, The daughter goes to visit family downtown, and you see less of her in that movie, to the point where she was a New York runner-up for supporting actress, I still think it's a lead. Not to say that, you know, kids can't be leads, but I do think that she and Delroy Lindo dominate enough of the movie to be leads for it. Alphrey Woodard getting bounced around between supporting and lead categories was a thing in the early 90s, because that was also her passion fiction. narrative in 92.

Which we talked about putting on this list. Obviously, we were huge advocates for her performance in clemency as well. Alfred Woodard in this movie is just like when I think of quintessential movie moms, she's like in my top three movie moms for this movie. Just, I mean, dealing with her rascally kids, but also, you know, I mean, talking about the movie, it's hard to not reduce it down to. cliches, but it's like the best version of that coming of age movie you've maybe seen in terms of, you know, standard beats of growing up and having, uh, your parent be a presence

in there and like what the family goes through, uh, living together. Yeah. Um, there's also, uh, direct address to the screen moment in the movie that is just like, uh, sobs, waterworks, et cetera, because it's, Alphrey Woodard is one of the greats currently living and, yeah, we want to bring her back to the Oscar fold. We sure do.

Once again, Chris, we find ourselves being sucked into the vortex that is the 1994 best actress race. We can't avoid it. We can't avoid it. I think I would be willing to bet this is not even the best actress race. I would say this is the single

most disgust category in the history of this had Oscar buzz. More than best actress of 2002. 100%. We talk about it all the time. Because the dynamics of it are so... I mean, listen, if you've listened to our show, you probably are well aware of it now. Jessica Lang wins

for Blue Sky, a movie that sat on a shelf for two years or something, and kind of wins off of... She gets all these nominations, partly, over several years for these movies that really have no foot

print in, you know, the cultural consciousness, because the perception that she got a conciliatory Oscar for Tootsie when she should have won for Francis, but she, in the lead category that year, but she's up against Meryl and Sophie's choice. Right. I don't love Francis. I don't think that she is. Not beating those allegations about hating Jessica Lang, man. I love Jessica Lang. I know.

Is it wrong to look at a little Lang? The other nominees Jody Foster and Nell who if she didn't already have two recent Oscars in the past decade could have conceivably had an Oscar for that movie Miranda Richardson for Tom and Viv a movie that is not great

but she's having a hot moment Winona Ryder for little women making a hit movie at the end of the year in a famous character following up her supporting nomination for age of innocence and then susan sarin for the client which of course gets lots of sneers we've talked about it we think that's a cool nomination i love her in that movie i love susan yeah um i think i know where you're going in this lineup it's just like it's right there granted it was a summer movie yeah studio movie and it didn't make a whole lot of money it also is

like spike leaf following up uh malcolm with a movie that feels like such a downshift that I think in terms of like... Very, very different kind of movie. That's the thing. And I think if you're talking about the Oscar conversation, I think a lot of people are like, oh, well, he's, you know, downshifting from big Oscar, you know, movie. And this is something so different that I think it was just sort of never, you know, New York film critics runner up status notwithstanding.

I think it just wasn't ever in the conversation. Which is such a fucking shame. That's a huge. Because, I mean, like, it should have run the board that year. We know who I'm booting. I'm booting Jessica. Yeah. We know.

A bad performance and a bad movie. Yeah. We love Jessica, though. We do. We love her. Just not in the movies that we're booting here for. Not in blue sky. Yeah, exactly.

All right. Joe, wrap us up. Where are you taking us? Would that? It were so sample. This is, I mean, talk about a performance. that I have talked about a lot, loving this performance. This would have been my winner in the year of 2016 in Best Supporting Actor.

I am, of course, talking about my beloved Alden Aaron Reich in the Coen Brothers, Hail Caesar, which is a performance that does not lose its delightfulness or its comedic impact. every time I see that movie or every time I see parts of that movie his scenes from that movie are very easy to sort of like pick out and revisit obviously the scene opposite Ray finds trying to get the line

would that it were so simple out of his mouth and it's just old fashioned verbal you know what I mean like perfectly written perfectly performed comedy but there's other stuff with like So his character's name is Hobie Doyle. He's this sort of lovely lunkhead of a, you know, film performer.

The scene where he's practicing his little lasso tricks waiting for, his date is so charming. He's so sort of unassuming and just in this sea of self-interested. and sort of, you know, smarmy and underhanded, all of these sort of like these dark angles of Hollywood, right? And Brolin's putting out fires all throughout the studio,

and Clooney's this sort of cowardly leading man, and Channing Tatum ultimately is a Nazi? What is, where is, right? He's some sort of like proto-crypto, like, fascist. Some type of right-wing type of bad. And like all this stuff is going on and like there is sweet baby boy Alden Aaron Rike who's just sort of doing the right thing and being just shows up and exists and is funny. The best that he can be and it was, you know, this kind of star making performance that ultimately leapt him into the role that would steal years from his career when he was cast as Han Solo, a casting that even before that movie became what. it became, and even before it ran into, like, production woes and whatever, when people were

fairly optimistic about that movie, as soon as he was cast in that, I was like, oh, that's not good for him. They're going to chew him up and spit him out. It's just a no-win situation. It's just an absolutely no-win situation. He's finally, I think, emerging from that. I was so, so on cocaine bear, but I thought he was by far the best part of cocaine bear. Oh, I didn't even realize he's in cocaine-bear.

Probably because my, you know, unilateral disinterested cocaine bear. I think he's easily my favorite part of that movie. I'm hoping that we're on a little bit of a comeback trail. I didn't see the Sundance movie. I know you were less positive on that one than most people were. It's deeply fine. Very happy he's back. Yeah.

It's watchable partly because he and his co-star are watchable. So I'm very much pro Alton Aaron Reich and definitely was my number one supporting actor that year for Hell Caesar, a movie that was released so early in that year. year. Like, that was a February release and was, did end up getting nominated for art direction. There was, what was interesting was there was absolutely zero campaign for that movie because the Cohen's were so, they did not care. They did not. Like, at this point, they get Oscar nominations, they don't want. The reviews were kind of middling also. I remember, like, as many people were disappointed by that movie as, as who liked it. I remember not loving all of it.

but the things that are great about that movie, also the No Dames sequence, it's just like, just incredible, but, you know, it's maybe, you know, doesn't hit everywhere. Yeah.

No Dames should have been a song nominee that year, but we already had a song nominee. Anyway, nominees that year, that was Mahershal Ali's first of two Oscar wins. He wins from Moonlight. Jeff Bridges nominated for Hell or Highwater for playing a rascally old,

Coot has been his tendency lately. Lucas Hedges, baby boy for Manchester by the Sea, a performance that when I saw Manchester by the Sea, I think my initial thought was, man, he's not going to get nominated, but Lucas Hedges is so good in this movie, and then he does end up

getting nominated. Def Patel for Lion and then Michael Shannon for nocturnal Animals. This one isn't hard. Michael Shannon's already a performer that I tend to like less often. than people tend to like him.

I like him in the sort of oddest of circumstances. I'm a big fan of his performance in The Runaways, a movie that nobody really remembers or talks about. I don't like the performances he gets Oscar nominated for. I think Nocturnal Animals is a bad movie, and I don't love his performance in it. And it was a surprise nomination that was not a good surprise. did he, I know that like Aaron Taylor Johnson

won the Globe, but like there was somebody else in 2016 that was a pegged for a nomination that didn't get it because Michael Shannon got there instead. I'm also trying to remember the timeline that like Michael Shannon gets nominated for everything for 99 homes

except the Oscar. That would have been 2014. Yeah. I think that's right. Maybe. Maybe it's 15. And so it's like part of this nomination feels like it's you know mixed up with that yeah yes

anyway that's my easy boot for that year it's Michael Shannon for nocturnal animals so get it out of there I don't want to talk about nocturnal animals bad movie nocturnal animals having an Oscar nomination though means we never have to see it again that is true about it for the show

that is true that's a movie that I saw at Tiff back to back with a rival and you couldn't have had a more of a whiplash thank God it was I'm pretty sure it was Nocturnal Animals and then Arrival. Because it's like, what if people watch two Amy Adams movies together? And it's like, I almost wonder that her not getting nominated for Arrival is partly to blame from Nocturnal Animals. I would love the symmetry of being able to blame that, but I don't think, even with it getting nominated for Michael Shannon, I don't think anybody.

Didn't it do well with Bafta? Like, I don't remember. People liked that movie for some reason. All right, Chris, do you want to run down the 20 nominees that we recognized in part for before we go into our goodbyes? I absolutely would love to. Okay, from the top, Best Actress of 2007 Tongway and Lust Caution. Best Art Direction of 1999, the Blair Witch Project. Best actor of 2020 Delroy Lindo defy Voods.

Actor of 2001, Gene Hackman in the Royal Tenen Bombs. Best Picture of 1996, The Bird Cage. Best original score of 2006, Clint Mansell, The Fountain. Best actor of 2014, Graefines the Grand Budapest Hotel. Best supporting actress of 1989, Shirley MacLean, Steel Magnolias. Best Art Direction, Color, of 1946, A Matter of Life. and death. Best costume design of 1986.

Labrith. Best Cinematography, 2004. Harris Sivetus for birth. Best actress, 1968. Mia Farrow, Rosemary's Baby. I said Mia Farrow in Rosemary's Baby. Thank you, Tyro.

Best supporting actress of 2002. Andrea Martin, my big, fat, Greek wedding. Best original screenplay, 1980, Airplane. Best director, 1997, Casey Lemons, Eves Bayou. Best Original Song, 1989, Poor Unfortunate Souls from The Little Mermaid. Best actor of 1993, David Thuleas Fruit Naked. Best Cinematography of 2002, Tak Fuji Moto, Simes.

Best actress of 1994, Alphrey Woodard in Crooklyn. Best Supporting Actor, 2016, Alden Aaron Reich, Hail Caesar. We also want to thank our guest, Kevin Jacobson, who gave us Best Actress of 2001 Naomi Watts, Mulholland Drive, and Richard Lawson, who gave us Best Supporting Actress of 2011, Kate Hudson, in Something Borrowed. 22 bulletproof choices, once again, Chris, we are almost through our 100 snubs. It's almost over. It all comes to this next week, our final picks and our pick for the biggest Oscar snub of all time. It's crazy. What a month. What a month we've had. Listeners, that is our episode. If you want more, ThisHad Oscar Buzz, you can check out the Tumblr at this had oscarbuzz.com. You should also follow us on Twitter at had underscore Oscar Buzz and on Instagram at This Had Oscar Buzz.

Chris, where can the listeners find you in your stuff? You can find me on Letterbox and Twitter. at Krispy File. That's F-E-I-L. And I am on letterboxed and Twitter at Joe Reed, read-spelled R-E-I-D. We would like to thank Kyle Cummings for his fantastic artwork and Dave Gonzalez and Gavin Mavius for their

technical guidance. Please remember to rate, like, and review us on Spotify, Apple Podcasts, Google Play, Stitcher, wherever else you get your podcasts. A five-star review in particular really helps us out with Apple Podcasts visibility. So Flotsam Jetsam, now I got our boys. Let's write a nice

review. That's all for this week, but we hope you'll be back next week for more snubs. A ticket to dream.