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

Episode Date: May 15, 2023

We’ve got 20 more snubs (plus guest appearances!) on deck for another installment of 100 YEARS, 100… SNUBS!, and this episode is out for blood! We dive into the much discussed 1999 Best Original Song category, two very famous snubs that DON’T make our list, Chris’ early stumping for one highly anticipated performance this year, … Continue reading "100 Years, 100… Snubs! – Part Three"

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 early movies have taught us that the men in the white hats are the good guys. But not always.

There are times when bad guys become our heroes and good guys become our villains. But ironically, at times, we find ourselves rooting for the outlaw. Hello, I'm Sidney Ellen Wade. And I'm Carolyn Burnham. And I will sell this house today. And welcome to the This Head Oscar Buzz Film Institute presents 100 years, 100 snubs. Every week on this had Oscar buzz, you'll 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're here to perform the autopsy, but for this May miniseries, we're doing something a little different.

Every week in May, we'll be looking back and choosing the 100 greatest Oscar snubs of all time, and we'll have special guests calling in to offer their choice for snubs submissions. I'm your host, Chris Fyle, and I'm here, as always, with my house with a red door. Joe Reed. Hi. Very excited to get to part three. I can't believe we're already at the midway point of this Madcap endeavor, Chris. It goes so fast. We are ascending the Matterhorn.

This feels like the biggest behemoth. kind of done and partly because we make it difficult on ourselves. You know, it's just like, it's just a list. We could just do a list, but no, we are, you know, paying pseudo tribute to the AFI, 100 years, 100 movies tradition. Right. We are also, you know, making it a good time, hopefully. We're making it a good time. We're trying to cover a lot of bases with this.

This is one thing I wanted to bring up before we get into. it. We're trying to cover a lot of bases from the sort of the no-brainers, the ones we've talked about on this podcast a lot and been like, obviously, this person should be an Oscar nominee, so it would be weird then if we did a list of 100 snobs and did not include them. But we also want to have some more interesting selections, some more sort of, you know, left field personal canon collections. Exactly. Exactly. We want to keep it fresh and exciting. And it's a balance. Plus, we don't want to overload on any particular actors or any particular films or categories.

So we are spreading the wealth in that way. We've set some rules. We've set some parameters that also maybe or may not have helped us narrow this down to a list of 100. Also, we have our guest submissions. We don't understand math. The number 100 is a construct. It is a... You live with it in your home.

heart and yes sometimes things that are a hundred are actually like a hundred and seventeen sometimes the things that are a hundred or like a hundred and two sure but it's loosely a hundred from us and then more from our guests is what we'll say a hundred from us and then everything from the guests is a is a wonderful bonus so right us do not have a category for best math rightfully so so yeah year it goes to Aaron Brockovich. All right. What number do you need?

It's not 100. Uh-huh. Uh-huh. I want to quote that scene, but I don't want to get it wrong because Lord knows I'll get called on it because the people who can quote Aaron Brockovich from memory are good and loyal listeners to this at Oscar was. I recently saw, I forget who posted it, but I I'm pretty sure it was New York City drag queen Kejikar did it as a lip sync monologue.

It's right to do so. It's right. I'll be interested to see if this upcoming season of Drag Race All-Stars does another spoken word and what it will be. Because obviously they did the designing women thing last time, which was wonderful. But I feel like this is a place where they can really get creative. Absolutely. All right. Anyway, let's do the ground rules before we get back into it. Sure, yes.

Give it to me in your best net-bending. Oh, God. I don't know if I haven't in that betting voice. I have to be very self-possessed and very... I tripped myself up on the intro joke because I forgot, what does she call Mark Ruffalo and kids are all right? Like an interloper or something? I think an interloper, yes. If anybody does a good Annette Benning impression, someone make us aware of it, because that would be just... It's Peter Smith does one, right? Yes, you're absolutely right.

Peter Smith does do one. I'm so glad that you were right on the ball with that. Was that in, that was at a, that was at a, what were the, what was the live event that I went to? I literally was at it. Oh, whatever. I don't think so Honey Live, whatever the I don't think so Honey Live. Something. Yes.

Tremendous impersonation. Peter Smith is fantastic. Okay. Yeah. So I'm not going to do that because I'm not, I'm not nearly as good. Ground rules are only maximum one snub per category. So if we choose, right. Oh, yes, exactly.

Which is just to say that if we choose a snub from 2014 best actress, then that's the only snub from that category that year that we're going to choose. So if there are multiple people who we think should have been in a particular category, we had to make some choices that may come into play in this episode. So keep that in mind. Once we select the snub that we want to talk about, we also have to choose which nominee who was nominee. in that category that year will be replaced. That can be anybody in the category. It can be the winner in that category, House Down Boot, and we reserve the right to enact what Chris has called the Nicole Page Brooks rule,

which says that you can send them all home. You can choose to add your snub to the category and then send them all home. Eventually, they all got to go home, so send them all home. Everything will lead up to, this is a non-ranked list. This is not a ranking up until the very final choice where each of us, with our final pick, will choose our choice for the biggest Oscar snub of all time. I also want to say, which we probably should have said up the top, we understand that the term snub comes with any number of like quotation marks and, you know, irony to it.

we understand that the word snub is probably inaccurate when it comes to somebody who, for all we know, could have been two votes shy in sixth place. You know what I mean? A snub is often spoken of as an active rejection of someone's merit, which is not the case when it comes to voting. It's just somebody who did not make the top five vote getters in any category. And yet, it's a real handy term. And it's nice and punchy and concise, and it gets across the point that we're trying to make without having to use 800 qualifiers.

So when we say snub, know that we mean somebody who didn't get nominated and don't make too big of a deal of it. That's all I'm going to say. People we've maybe done full episodes on things that could still be episodes to come, but also providing us an opportunity to talk about movies that maybe got other nominations that our listeners normally wouldn't be able to hear us talk about. Exactly, exactly, Chris. Anything else you want to add to the ground rules or caveats or anything like that? We are thus far pushing in this miniseries some episodes that are running close to three hours.

So let's just get into it. Let's get into it. We are almost at the, is it the summit, the crest, the, you know, the peak of, yeah, yeah. We're hitting the midpoint. We are hitting, uh, it's the hump day of the Penny series. That's what it is. And by that, I mean when Shelton's hump day. Right, of course.

Okay. So, shall we begin? Yes. Joe, kick us off. Where are you taking us? What's, okay, well, I got to come up with the metaphor for whatever this episode's theme will be. obviously you have heard us talk

about the Polar Express and Mr. Rogers' neighborhood Oh, no, Chris is coming up with a metaphor. We'll come up with it. Start us off. Maybe I'm doing something really horrible to you without being aware of it, but I have a show opening in two weeks. I'm really nervous about it. I'm seeing a new person, and I'm obviously anxious

about you and Curtis liking him. You were involved with this horrible traumatic accident. You're going on this crazy horseback riding trip with your father, which sounds like a recipe for disaster to me. And on top of everything else, Lisa, Ever since I told you about Ramon, you have been treating me like I'm insane. Okay, so I'm going to take us all on a trip to 2011 and the best-supporting actress category. My nominee, to add to that field, is the fantastic J. Smith Cameron from the little film called Marguerette.

We have done an episode on Marguerette. Shout out to our wonderful friend, Patrick Vale, who is currently in London, playing. Sexy Jet and Sexy Oklahoma, and we love him for that. Margaret's an awesome movie. Marguerette has a plethora of supporting actress contenders. Just narrowing this choice down to one supporting actress contender from Marguerette was a challenge. No disrespect. Because I probably would have just not picked one of them as an avoidance tactic.

Absolutely no disrespect intended to the great Jeannie Berlin, the great. the great Allison Janney. They are both phenomenal in that movie and both worthy. I mean, you could have a majority Marguerette category for 2011 sporting actress if the Academy paid any attention to Marguerette, which they did not. So I'm choosing Jay Smith Cameron, who plays Lisa's mother Joan in this movie because it's a really difficult. roll to nail, right? This mother-daughter dynamic becomes so important. I think the Janney

performance is so impactful in such a short amount of time. Like, it's incredible. And then the Jeannie Berlin performance is fireworks upon fireworks, right? Like, every single line reading is gold. And it's just she gets such a platform to kind of like, stunt on this girl, essentially. And then there's Jay Smith-Camron who has to build this mother-daughter relationship that is very complicated, that has very much sort of like highs and lows, while also maintaining

this character who is very much her own person, who is going through her own struggles. She's an actress. She's full of self-doubt. She's dating this guy. And she's not sure it's going to work out. And she's can't get through to her daughter and that's a thing that could end up feeling very cliched but she makes it feel very, very lived in and real.

She and Anna Pacquin have a tremendous rapport with each other and maybe it's the the fact that Succession is currently airing its season and I'm in very... Although Jeannie Berlin also killing it is Sid Peach. Succession. And Sid, Peach, we hope you hang on at ATN. You know, the axe is coming for you, Sid.

Okay. I've come around to thinking that Sid may be when, you know, when the final, you know, ashes settle, it would be the roaches and Sid that have survived. She does have that feel to her, right, where she's just like, I'll be fine. You know, smoking a cigarette and she'll be fine. I mean, it would be, I think, comedically genius. because there's been so many episodes while it's frustrating, but then while you take a step back

and look at the big picture that you see Jeannie Berlin will just show up in episodes to be in a boardroom and say nothing. And it's frustrating because it's like, you're wasting Jeannie Berlin.

She's in that first episode just at the birthday party, like sitting in a room full of people and it's just like, wow, Genie Berlin, cash that check. Like, okay. So excited. We can't talk.

session. We can't. No, we can't spoil it for anyone. I don't know where you are, so you can't spoil it for me. I'm only an episode ahead of you. We're sitting on those first four episodes and didn't let a damn thing slip to me, and I would have killed you if you would. Oh, oh, it was top priority that I wasn't letting anything slip. No, at this point, I'm only an episode ahead of the pace, so don't worry. Anyway, Jay Smith Cameron, phenomenal actress, phenomenal performance in Margaret. As for who I boot. So the 2011. supporting actress. We've talked

a lot about how neither one of us I know you are. I know you do. We've talked a lot about how neither one of us really like the top to bottom, the 2011 Oscar nominees very much. I think it's a very weak Oscar year. This is the year

that Octavia Spencer wins for the help. She is nominated against her co-star, Jessica Chastain for the help. Bernice Bigeau for the artist. Melissa McCarthy for bridesmaids, which I think we have both said that while she wouldn't be our nominee from Bridesmaids, she's still very

good. At least I have said that. I would nominate Rose Byrne for that film. And then Janet McTeer for Albert Knobbs, which is a weirdo movie, but Janet McTeer is very good in it, I will say, and provides maybe my favorite

comedic highlight of that movie when she... You say it's like it's a movie with so many comedic highlights. No, well, that's true. Of the many comedic highlights in Albert, No, Janet McTeer's character very proudly pulling... Of intentional... Exposing her breasts in that movie is very funny to me.

Okay. Yeah, this is an easy call. This is not the strongest supporting actress category of all time, and yet I... I'm agnostic about the artist. I genuinely don't understand what Barony Espigia was doing in that movie to earn an Oscar nomination. She's not bad, but like... What? What?

What? What? Chris, what's going on? What happened there? Am I being too harsh on Bernice Bejot? No, no. Bernice Bejou is fine. She'll do fine. She doesn't need my support. She's got other people. I don't know. Yeah, get her out of there. Add J. Smith Cameron. Honestly, this is a category. I'm not going to go full Nicole Page Brooks because I do think, I particularly think Jessica Chastain is a hoot and a half in the help. And I do love Melissa. McCarthy. But you can you can replace three-fifths of this category with people from Marguerette, and I'd be happy with that. You know what I mean? I do want to go through. I'm going to start because I haven't so far. I am going to go back and keep track of all of the nominees that we're booting and seeing if there are people we've booted more than once or movies we've booted

more than once and maybe we'll create some type of boot Hall of Fame. Sure. I know I've was Steve Madden Hall of Boots. And we'll see, because I think I've booted the artist so far. Yes. I also am just like, whatever, with that movie. I've definitely booted Charlie's Ther on twice, which I feel like I'm going to have to, like, do penance for it at some point, although I do stand by it.

But yes, so anyway, what is your first selection? I don't mean to keep you from getting to work or anything. I just knew if I didn't start driving, I wasn't going to see you again. I didn't want that. That's all. Okay, so I also am keeping us in the supporting actress race. This is someone who I have very strong feelings about, and I have developed stronger feelings about this performance

as it sat with me and stayed with me and haunted me. Very excited for the year ahead. We're talking about Best Supporting Actress in 2016, none other than Lily Gladstone for Kelly Reichart's certain women. Shocked. Shocked that you would make this selection. So shocking that I would do this.

She actually did for a very, very small movie that was released by IFC, and we all know that, like, IFC doesn't really have the funds to campaign all that often. Yeah. Plus, you know, Academy Taste being what they are.

A Kelly Reichart movie has never been nominated for anything, even during the pandemic when First Cow was so amazing she won the Los Angeles critics and then was showing up as like runner-ups elsewhere too

she plays a farmhand named Jamie in the American Modern West who develops a kind of a queer unspoken longing

to Kristen Stewart's character who is a teacher in like a night school kind of for adults that is hilariously like they're not there to learn whatever it is but then she goes to like a diner with her and then they make this connection and she goes to across the state to meet her and thinks that there's more of a connection than maybe there was or it's a one-sided thing. You have this very heartbreaking scene where you can tell that Lily Gladstone is trying to, uh, you know, make a connection. And Kristen Stewart's like, what, why are you here? This incredibly awkward thing. And then you have this silent scene where Jamie, played by

Lily Gladstone, drives away and you just watch her face for several minutes. And you see with just the most minor facial expressions, this whole tidal wave of feeling and understanding working through her in a way that I think makes her an incredibly exciting performer.

And as we all know, it is Lily Gladstone or bust for Killers of the Flower Moon this year. I think it will be very exciting to see a native performer. You listeners don't know. You listeners... A potential frontrunner. Yeah. You listeners don't know

the experience of being friends with Chris Fyle and every time even tangentially that Killers of the Flower Moon is brought up or the best actress race at the Oscars is brought up or like how are you this morning and for multiple years it's been like Lily Gladstone every single time it's just like don't forget about Lily Gladstone it's like I literally just said what I had for breakfast. So that's been the experience. This text message from you about your bagel is giving the vibe that you have forgotten that Lily Gladstone is going to be in a major contender. Why are you, why are you forgetting about Lily Gladstone? What's going on? It seems like you might be forgetting about Lily Gladstone, Diva. All right. The 2016 nominee is for

best supporting actress. A good lineup, as far as I remember. Yes, a good lineup. Viola Davis wins for fences. It's also Naomi Harris in Moonlight, Nicole Kidman and Lion, Octavia Spencer for Hidden Figures, and Michelle Williams for Manchester by the sea. By the sea. By the sea. Manchester by the sea, Mr. Todd, oh, I know you'd love it. So this lineup, it is a good lineup. I do, I still stand by if Ila Davis had run in lead because I would consider that a lead performance. I still think she would have won. And perhaps opening up for Naomi Harris, who does everything she does in that movie and

filmed it all in three days. Oh, I think that's Michelle's Oscar win if Viola moves up to lead. I don't know. I mean, possibly, but I think, and maybe this is because, you know, she wasn't going to beat Viola Davis. but the way that season shook out, it didn't, you know... Sure. I don't know if she ever really got the...

Ever got more momentum than when people first saw that performance. Maybe, maybe. Anyway. It's tough because Nicole Kidman and Lyon, I think, is a performance we've somewhat talked about either in this miniseries or in recent episodes. Octavia Spencer and Hidden Figures, who I love Octavia Spencer. For me, the nomination from that movie, the sporting actress nomination, would have been Janelle Monet at that time. Sure.

But I think I'm going to boot Nicole Kidman. Yeah, I get it. I think I agree with that. Even though I love Nicole Kidman and I think it's a really good performance, this is just a very strong category. And I like everybody. We all know I'm of the belief that Nicole Kidman's Oscar nominations are weird. That's true. It's just not representative of her as a performer, for the most part.

Sure. I get that. And it's no slight against Lyon. We were talking about it in our Mary Magdalene episode. That's what it was. Yes, that's right. Of course, Garth Davis. It's no slight against Lion.

I don't think Lion is bad. No, I think Lion's a good movie. I don't think anyone's bad in it. It's just, it's a weird domination for Nicole Kittman. Yeah, I agree. Anyway, I who am normally not sight unseen rooting for a performance or a movie in this type of way um uh all in up to my eyebrows um lfg lily gladstone this year yeah not bad read the book and you'll know why uh won't but i'll see the movie and uh i'll find out then it's not a very uh long

read i know but you know me okay all right You're taking us on a journey. I am taking us on a journey. Perhaps one that never stops. A journey on the back of a dog dragon is with the shirt. That's how we're describing that creature. Yeah. I'm taking us back to the 1984 Academy Awards.

a nation had fallen in love with Amadeus. Farm wives were all over the best actress category. And in the realm of children's stories, the children of America were scarred for life by any number of aspects of a little movie called The Never Ending Story. Neverending story is a weird, weird movie, I will say. just in terms of there's darkness in it half of the creatures looked

terrifying, even the nice friendly dog dragon also looks kind of terrifying The performances by the children are all I'm not going to say bad but like particular you know what I mean? They're all kind of shouted and yet

I watched that movie a billion times when I was little kid. In terms of an Oscar nomination, I'm going to the best original score category, because whatever you may think of the never-ending story, if you've seen that movie, and I mention the title, immediately in your head, you start hearing that music by Georgio Moroder and Klaus Doldinger. There's, of course, the song, but then the score sort of emanates from the song, right? Where it's like, da-da-da-da-da-da. You know what I mean? That whole. the the you know again the flight on the on the dog dragon like that whole scene is scored this very sort of like you know fantastical and and soaring there's a lot of it sounds very 80s

it all sounds very synthy um but in this very particular way it it is a time capsule of a score if you listen to it were you a were you exposed to the never-hending story as a time kidding me. I was exposed to Never Ending Story 2. There's another one that I've never seen. Never Ending Story 2, which of course is like the Jonathan Brandis of it all. It is. Yeah. It is. Yeah. Probably the urtext of me as a gay person, you know,

staring into a TV and mentally just going into the Slay Queen headspace of Zaida, the villain of Neverending Story 2. I don't remember Neverending Story 2 very much. Yeah. I feel like that's the age gap between us, that I'm a ending story and you're a never ending story too like that uh never ending story i maybe had to age more into that because it's so scary it is it's terrifying and like when that fucking horse you think the horse has has drowned in the bog and then like the kids mourning him and then like

he does oh god it's so traumatizing yeah the nothing the nothing exactly but also like talk about like the name for like Gen Z alt band The Nothing. But this was also a movie for soft boys. Like this was, I imagine really imprinted on soft little boys.

Okay, both never ending story and never ending story to our soft voice cinema. But also never ending story is like horny girl cinema. Because every young woman that I knew through my childhood wanted to fuck Atreyu. Yeah, that makes sense.

It's full-blown sexual awakening for so many women over Atreu. That feels like the perfect Venn diagram between like earliest childhood crush and burgeoning horse girl. Like, like, yes. You know what I mean? Listen, like the fandom, the appeal of never-ending story is so wide-ranging. It is, you know, horse girl, soft boy, horny girl. Goths. Yeah.

It brings people together. I'm kind of surprised that we haven't gotten a resurgence of like never-ending story, kitschy, like, t-shirts or like, you know what I mean? Like, you know what I mean? How, like, stores will, like, do a shirt where it's like the contra cheap code. You know what I mean? Like, that kind of. Right, right, right.

Like, where is our. never-ending story. Did never-ending story ever take off on Tumblr? It seems like a very Tumblr-friendly movie. Right? I need you guys to, at some point, go to IMDB

and look up Georgio Moroder and look at the, what appears to be, his IMDB photo appears to be an album cover of him with like a very Miami Vice jacket with a T-shirt that is like circuitry and wires. It's very much like, I'm Georgiope.

Marauder. I am very 80s cool, but also possibly a robot. It is the intersection of Miami Vice and Tron. Uh-huh. Yeah. Yeah, yeah, yeah. That makes sense. Nice work if you can get it.

George and Marruder. Neverending story nominated for any Oscars, because this is the thing I was going to ask. You chose it for score. Yeah. And I could think of it for maybe a few other things, especially like art direction, visual effects, et cetera.

I was going to say, you could, I don't believe it got, it maybe got like a special visual effects award, but I don't think it did. I don't think it got any Oscar nominations, which is kind of interesting because... I think it was considered, it did not get any. I think it was somewhat of a bomb. It's this weird, like, throw all European countries in a blender type of movie. It does, it's like the ABBA of movies and that, like, it feels like it learned English. phonetically. Like, it's a movie that

learned the English language phonetically, or like by watching other things. Yeah, the visual effects nominees that year were Indiana Jones and the Temple of Doom, 2010, the 2001 sequel, and then Ghostbusters. And then

art direction, we'll get to the score stuff in a second, I promise you. Art direction that year was, again, 2010, but like stuff like Amadeus and the Cotton Club and the passage to India and the natural and all this sort of stuff. So, um, I don't think they were looking towards, uh, that was also the same year of David Lynch's Dune, which got at least a sound nomination. So Dune, Dune and the Neverending Story at 1984 as a double feature would have been a real fucking time. Let me tell

you. Let's maybe, um, get some substances and do that. Uh, never ending story somewhat feels like Dune for children, right? A little, a little. Yeah, yeah, yeah. You get, you watch the Everending Story, then you grow up and you're in high school, and then you watch Dune. That makes sense. So anyway, Georgie Omeroder is a three-time Oscar winner, so he kind of doesn't need my help in any way. He was actually, had won the previous year to 1984 for original song for Flash Dance, What a Feeling, won the Oscar for Original Score for Midnight Express, and then

was one of the songwriters, I imagine, wrote the music for Take My Breath Away, so that that one original song for Top Gunn. So, more... Contributed so much to the culture. Yeah. More for Jergio Maroder, I say yes, because this score is, to me, iconic. The nominees that year for original score were Maurice Jarre won for a passage to India. John Williams nominated for Indiana Jones in the Temple of Doom, which is one of those classic, like, this is John Williams working in the same.

score essentially that he was nominated for previously. It's an iconic score. It's sort of like every time he's nominated for Star Wars. It's like, yes, you wrote a new theme for whatever, but like it's still, it's Indiana Jones. You know what I mean? It's another Indiana Jones score. Randy Newman for The Natural, which is a tremendous score. And not typically Randy Newman. You listen to it, and it doesn't sound like, but do, but do, boop, boop. You know what I mean? Like, it doesn't have that sort of a sound to it, but it's like... He doesn't come in with some random, ill-place song where he's like,

And now, I'm going home. Exactly. I'm so alone. The Natural's also... The Natural is one of those movies where you can play a piece of that score as like a shorthand for like, you know, what it is.

And in this case, it's like hitting a home run, right? It's like, ba-ba-ba-ba-ba-ba-ba. Like that. Anyway, John Williams nominated again for The River, which is a movie where Mel Gibson and Sissy have their farm washed away by a flooding river, and then Alex North

for Under the Volcano, a movie I have not seen. Have you seen Under the Volcano? No. Okay. Have you seen the river? That's like one of those random 80s acting nominations that I want to see. I got on a kick of, I got a kick of watching a bunch of 80s best actress nominees, so I watched the river. It's

okay. It's the one I'm going to boot. Really, there is a river. It's the one I'm going to boot out of this category, because for one thing, John Williams doesn't need to in this category. I haven't seen Temple of Doom in a while, so it very well could have, you know, very important, like, additions to the score that it didn't have in Raiders of the Lost Star.

So, like, I, whatever. I've seen the river. It's fine. It's deeply fine. The score did not make an impact on me whatsoever. John Williams doesn't need to, so I'm getting rid of the river. Anything else to say about that category or about the never-ending story or. anything um i think in terms of like the gay categorizations that people fall into of like twink bear

cub otter etc i identify as a childlike empress okay perfect all right what do you have next for us chris well sir i don't think anybody here would deny that when you send your chickens out in the morning from your barnyard those chickens will return that evening to your barnyard not your neighbor's I think this is a prime example of the devil's chickens coming back home to roost. Okay, next I have for us something that I feel very strongly about. I find surprising and annoying that didn't happen and is linked to, when people talk about like snubs for nominations that didn't achieve a win, this is one that people talk about a lot.

I feel as strongly, if not more strong about this movie. a best picture nominee. Yeah. We're talking about 1992. Spike Lee's Malcolm X, which obviously, you know, had a lot of heat around Denzel Washington's performance. He loses to Al Pacino getting his career nomination for scent of a woman. Yeah.

Malcolm X is, I mean, I think over time, you know, it's accumulated a much more legendary status. Obviously, we talked about it in a part one episode. We talked about do the right thing being kind of considered the Spike Lee Oscar snub of do the right thing, not being a Best Picture nominee. I feel like Malcolm X is even more surprising because even with a controversial figure like Malcolm X at the center of it, it is as far as a straightforward biopic is concerned, it's like maybe the greatest of all time or among the greatest of all time in terms of like it's not

necessarily doing anything super utre it's just i think you get the full breadth of a not noteworthy person but a person's life and all of the different person people that they were throughout their life and the progression of a human identity and spirit in the this movie that like you could piece apart this movie that it's like at this point it's like almost a musical you have that dance hall sequence that's amazing and then you have the sequence where he eventually goes to Africa and you have the like whole finale sequence that leads up to his assassination that's so just like weighty and like you feel that movie in your bones but like it is fairly straightforward and the type of thing that the academy loves this is what

I was going to say is if Spike Lee had been treated like theuteur that he was from at this stage of his career, which by this point he should have been, because by this point he's already made do the right thing, then Malcolm X would have been his Welcome to the club movie, right? You have made a movie in one of our preferred genres and have done it tremendously well with this sort of he scaled up in terms of his scope and his you know what the toolbox that he's working with and I mean like it's surprising when you talk about it in these terms but it's like the Academy of 1992 passing over a masterpiece about and made by black people not surprising but of course incredibly frustrating it's just

also shocking that this movie is only nominated for Denzel Washington performance performance and Ruth Carter's costumes which is like absolutely both should have one but it's like there should you watch that movie and it's like it should be nominated across the board

it's a fucking masterpiece and because I put it in best picture it's also a lineup of movies that I it's not a great best picture year Unforgiven wins there's also the crying game a few good men howers end

and sent of a woman Howard's Ed Masterpiece, love that movie. Don't love the rest of this. Yeah, this is a lineup where I like a lot of these movies more than you do. I think, like, yeah, yeah. I kind of hate Unforgiven. I understand why people like it. I find it a deeply unpleasant and not good time at the movies.

However, my boot is going to scent of a woman, because on what earth, you know, it's just, I don't know. Sentible Woman, when I see you, it's on site. Again, it is fully, like, the preordained Al Pacino when, you know, when someone's so much of a frontrunner, it can elevate a movie to a best picture nomination. And even, like, Martin Brest is best director nominated for that movie. It's... It was very popular. It was a very popular movie at the time.

I don't hate Centip a Woman. I think Sentive Woman is fine. But, like, it's absolutely inferior to Malcolm X. Like, that's, that's unquestionably inferior to it. Yeah, yeah, yeah, yeah, yeah. No-brainer, yes. So we're saying, I am saying at least, that scent of a woman is garbage. Oh, my God.

Is that what that was? Is that what you were trying to find? Was a segue into this next? I was trying to find a segue. Oh, my God. God bless you. All right. I want to too much.

The world is not anymore, but it is such a perfect place to start my love. And it is not. 1999, best original song, is considered generally to be a really, if not universally strong category. a fascinating category. I find it, at least, to be a fascinating category.

I am, 1999 in general, right? You know, Bally Hood Year, fantastic, turning point for cinema, so many great movies. The Oscars didn't reflect that super entirely. And the original song category reflects this, right? Where you have really, really wonderful songs like Amy Mann's song from Magnolia, Save Me, the Randy Newman song When She Loved Me as performed by Sarah McLaughlin in Toy Story 2

and then of course South Park Bigger, Longer, and Uncut gets the nomination for Blame Canada, which everybody sort of freaked out about. It was like, oh my God, what a cool nomination, it's so what are they going to say? How are they going to censor themselves? While in the same category, you have my girl, Diane Warren,

getting nominated for Music of My Heart, for Music of the Heart, as performed by Gloria Estefan and InSink. and then Phil Collins wins for You'll Be in My Heart from Tarzan, which is, was sort of a forehead smacker when it happened, and then it became kind of infamous because South Park really like went in on Phil Collins after the fact. I think there are improvements we can make to this category, and the improvement that I'm going to make is I'm going to nominate the title song from The World Is Not Enough as performed by Garbage as Best Original Song of 1999. I think it is... You're wild for this one show, Reed. I'm not...

I think this is a perfectly sensible nomination. First of all, it's the best of... With apologies to Adele, the best of the modern bond themes. And when I say modern, I mean essentially like my adult lifetime, so Pierce Brosnan and gone forward.

How dare you speak ill of Cheryl Crow's Kalanapan ad? Tomorrow never dies. Listen, Adele Skyfall is a good song. Tina Turner's Golden Eye is a really good song. This is... We as a gay community coming together to embrace in this modern era

Tina Turner's golden eye as... It's a great song. Canon, yes. It's a great song. The world is not enough is even better. We could have had a moment where Shirley Manson in a stunning Versace dress

belts this very sleek and sexy tune on the Oscar stage, and we could have had that moment, and we, you know, we lost it. It's, it sounds perfectly like a Bond song. It's composed by David Arnold, who is a composer who's done a lot of Bond stuff and other things. Lyrics were by Don Black, who is a five-time Oscar nominee, who for the weirdest stuff, the title song from true grit, the title song from Ben, you know, the Michael Jackson song, Ben. He got nominated for a song from the Pink Panther Strix. Again, he's the Oscar winner for writing Born Free. But writes these, and again, it's this very sort of like traditional bond, right? It's all, the lyrics are just kind of meaningless. It's all just about, aren't I a very unknowable and

cool, like, femme fatal, right? Doesn't this sound like some, like, profiles of naked ladies are dancing, but they're also fire. But like again, garbage is one of my very favorite bands of the 90s. Definitional band for me growing up. That debut album of theirs with the pink

sort of feathered, pink feathered cover was burned in my brain. Shirley Manson's vocal on this is so fucking good. It's so sexy and sleek and powerful and it's everything you want.

It is absolutely flawless. It is better than every nominee. This year, maybe. I don't know. I love that Amy Mann song from Magnolia, even though... I was going to say, I'm not going to let you get away. No, I mean, even though it's not even Amy Mann's best song from the Magnolia soundtrack, because, like, I know why...

She wrote for the movie, though. I know, right. Wise Up wasn't eligible because she didn't write it for the movie, but it's still, like, it's still weird to me that, like, what's your Oscar-nominated song from Magnolia, and it's not Wise Up? Like, Wise Up is so important to that movie. Anyway, I also really like when she loved me. Otherwise, I like this better than the South Park song. I like that the South Park song was nominated, but I like it better. But the one I'm going to get rid of, I'm housed down Bootsing. I'm getting rid of, you'll be in my heart from Tarzan. Like, no ill will towards Phil Collins. It's just not, you know. It's also weird that, like, this was the point where Disney stopped making music.

musicals, but still decided they were going to have, you know, these e-list soundtracks. Because boys decided that it would be gay to watch someone sing in a movie. Right. Even though I think, like, the Rosie O'Donnell character sings in Tarzan. Sure, but she's a girl, so that's fine. Yeah, I imagine that was a reaction to Hercules, maybe? Hercules is so fucking good. I know, but I imagine they were like, boys didn't like Hercules.

I don't know. Who knows? Who the fuck knows? It's mediocre. I will get mediocrity out of there. The world is not enough is excellence, and we're adding excellence. There, I said it. Anything you want to add about the song or this category?

No. All right. Chris, what do you have next? I feel like the lineup that I have for the last time. It's the moment we know what it's still what means the perth of I feel like the lineup that I have for this episode is just me standing in my truth, I am who I am. You can't really expect me to not do the things that I'm going to do in this part of this

mini-series because we're talking about not, maybe I also put this in here for the drama because we've talked many a times about how this is uncrackable. one of our favorite races of all time. And it's a performance that I think under no circumstance would have ever made it into the Oscars. And yet, I think it's maybe the greatest performance of my lifetime. Okay. We're talking about Best Actress in 2002, my very favorite, Isabelle Upaire, in The Piano Teacher. The Performance I thought about not including in this list,

because it's just like, have you seen the film? Have you seen what is happening in this film? And yet, like I said, I think it is the greatest performance of my lifetime. She wins can fully unanimously the year before. The movie does not get released stateside until early 2002. And then she makes kind of a close run for a major critics prize showing up in, like in the runners-up for National Society, New York, and Los Angeles. In the best actress year, where Nicole Kidman wins for the hours, also our beloved godmother

Salma Hyac for Frida, Diane Lane and Unfaithful, Julianne Moore, far from Heaven, and Renee Zellweger in Chicago. Uncrackable lineup. This is also a category. I think, inarguably, the best, best actress lineup we've ever had. And I mean, I think my thing. about this performance, which I know we've had arguments on Mike about how close we think that she might have been considering this lineup. I definitely think she was nowhere even in the top 10. But like you watch that performance and it's just like a complete career defining performance

for one of the greatest global stars alive. And to the point where the nomination that does eventually happened for her for L is like absolutely a more like it's i'm not going to go so far as to say a sanitized version of this movie yeah more palatable to the academy version of this performance i mean i'm not going to say that it's the same thing because especially as my favorite actress i could get really into the minutia of how these are two very different women and now she plays them very differently blah blah blah but you know if you get reductive about it in the way that the Academy sometimes can, it's in a similar vein. It's off-putting in a similar way.

Sure, yeah. This is an interesting category in that it's more, the wealth was spread more than maybe we remember it, because by the time Nicole Kinman won, it was very obvious than Nicole Kinman was going to win. But like- Quite, because Renee Zellweger won SAG and it, it wasn't maybe a photo finish, but it was very close. Renee Zellweger had won SAG, she'd also won the Globe.

which like in musical or comedy so she didn't have to beat Kidman or Julian Moore but then Julian Moore and Diane Lane dominated the Critics Awards section of this year too and then Salma Hayek I do wonder if Julianne Moore wasn't splitting her own votes by getting nominated

in both actress categories if she could have made a run at it but I mean the hour's got like nine nominations on top of the best picture yeah I think once Nicole Kidman won the Golden Globe people were like Oh, right, she's just going to win the Oscar.

Like, that's sort of... You're right about Zedalwiger making an end run, and yet even still, I feel like Kidman was a strong frontrunner. So I don't envy you your choice of who to boot, although I think I know which way you're going. Maybe I put this in here partly just to, like, stir up some shit. You know, everyone in this lineup, I think, is a deserving winner on top of being a deserving nominee.

But, like, who am I putting in fifth place of this lineup? Yeah. Especially considering this actress's Oscar trajectory, I'm going to boot Renee Zellweger. Yeah. That's the choice. She has two other Oscars. She's fine. Two other Oscars that, under no circumstances, was she ever going to lose?

Sure. Yeah. I think that's the right choice. Ultimately, in a year of strength on strength, she's the least strong. She has the most sort of, I tend to be a defender of her performance in Chicago. I think a lot of people are like, she couldn't dance. She's not a great singer. Yeah, she's playing someone who is.

I mean, like, I know that some people also, I roll their, I roll that justification. But like, I don't necessarily want to see a Roxy Hart who is the flawless singer and dancer. Just like, I don't want to see a, I don't always want to see a Sally Bowles, who is the flawless singer and dancer because it doesn't make sense if there are a brilliant singer and dancer. It, like, it all falls apart. That being said, I think that she's phenomenal in Chicago.

But I also think that choosing her of this lineup, I don't always come away from Chicago talking about Renee Zelliger. There's so much to talk about. Whereas, you know, the other ones, I don't necessarily think it's true. I agree. Chris, look to the sky. Someone's parachuting in with a guest submission. Joe, that's not a parachute.

That is a hot air balloon. We have an aeronaut arriving. Oh, no. Who's this very good aeronaut who's coming in with a snub for us to talk about? Oh, I think it's our very special guest from the Family Stone and Never Let Me Go episodes. It's our good friend Tara Ariano. And our Walk on the Moon episode, thank you for not letting me forget our walk on the moon.

Wow, wow. Tar Ariana coming in in a full tie-dye woodstock hot air balloon. Who could have expected? With her choice for the most notable Oscar snub of the last hundred asterisk years. Hello, Chris. Hello, Joe. Hello, this had Oscar buzz. Thank you so much for inviting me to participate in this exercise. I had a few prospects, but I ultimately had to go with the most robbed person of 2022, which is Lashana Lynch, who absolutely should have gotten an Oscar nomination for her role as Izogi in The Woman King.

I mean, I just, when that movie was over, I thought there's absolutely no way that she won't. And I know it's wrong to give people award nominations for most acting. But there truly is not a shade of human experience that she does not portray in this role. I mean, right from the start, she's so magnetic. She has the moment where they're parading back into town after a successful raid. And, you know, a little boy on the side is being told by his dad. You know, you can't look at them. And she sees him covering his eyes because he really wants to look and he can't.

and so she breaks the line and goes over and just leans down and smiles into his face and he is delighted at such a great encapsulation of her character and she gets to be obviously tough all of them are tough but she you know funny ironic she's the more relaxed backup to viola davis's titular character um she you know does action she does sweet stuff with, you know, the new recruits. She has a spoiler, impressive death scene. That's extremely heroic. I mean, she's just, she's the total package.

She gives you everything that you want and is kind of, this may be controversial, maybe more interesting to watch even than Viola Davis is in this movie. And in terms of who I would remove from that class of supporting actress nominees, I mean, there's part of me that was to say J.B. Lee Curtis, even though she won. But instead, I'm going to say Hong Chow because she is going to get nominated again. And it's such a bummer that she got nominated for The Whale, a movie I have not seen and will not see. And I don't think she was, I'm certain she wasn't the worst thing about it. It's still a drag that, you know, she was nominated for a Halo Award for that piece of shit from what I hear again. Didn't see it. Won't see it. So, yeah, put in Lashana Lynch for the Woman King, take out Hong Shao for The Whale. This seems obvious to me.

Thank you so much. Tariana, you are a really good Aeronaut. I would have Housedown booted it. We can move on from that. We don't have to... I love this choice. It's a good choice. It's a very good choice. Good choice. Glad that this movie is on the list somewhere

because it still remains shocking to me. wonder if it would have been more of a contender if the movie hadn't opened in sept fucking timber a movie that makes no sense to open in september although although it made a ton of money by opening in september and it really did boomer not boomerang springboarded off of the tiff buzz that ended up being surprisingly to me at least surprisingly strong i was going into Tiff being like, like, Woman King is opening in a week. But it had that bad trailer.

And it had that bad trailer. And then all of a sudden, I saw it in a late screening, but the premiere screening was rapturous. Everybody was like, this movie fucking rules. And I think that really helped it towards this like spurt in word of mouth.

And then the box office was so big. And I understand that it's hard to maintain no momentum. It could have been bigger, I guess. But like, I think it would. have been bigger if it was in a time, released at a time when people were going in the movies, like a holiday.

Maybe. Maybe. I don't know. Sometimes those things can get crowded out. I don't know. There's, you know, regardless, I think it should have had enough momentum to get nominations. I'm excited to do an episode on that movie when the time comes because good movie. It's a good movie.

All right. While Tara DeBoards the hot air balloon. Why don't you take us on to your next entry? Shania hates mayo. And she can't eat chicken salad.

That's no joke, right? We gave it to her once. She threw up in the limo. The lady hates chicken salad. All right. This is a movie we have done an episode on. This is a performance. I have raved about

a lot. I don't care. I'm going to do it again. I'm talking about my beloved Jude Law in I Heart Huckabee's best supporting actor of 2004, probably my winner that year, my number one of anybody supporting actors in 2004. And again, this is a movie that had multiple contenders. I could have gone a few different ways in terms of performances in I Heart Huckabies, including Naomi Watts, including Mark Wahlberg, who is not my favorite actor or a person, but is so fucking funny in I Heart Huckabee's. Ultimately, I'm going with Jude Law as Brad Stand in...

How am I not myself? How am I not myself? How am I not myself? He gives you so much. He's so... He is in many ways, would you say, the most important character in terms of arc in that movie, in terms of... 100%. Right? Where he goes from this, like, very shallow and confident. sort of bane of Jason Schwartzman's existence in this movie. And then in what I would say is a sort of surprising turn, kind of goes under the microscope and dismantles

and has his sense of self dismantled by Dustin Hoffman and Lily Tomlin. And the scene where they're in his office and they're playing for him the numerous times he told the Shania Twain chicken salad sandwich story. I don't even like chicken salad. And then sort of challenge him on his little brother who's weird and likes geckos. And watching him sort of in that scene dismantle his personality is really, really tremendous while still being, it's like it's good character work while it's also still being funny and he's um he goes through he's got really good physical comedy in this he's got really good you know line readings he plays this like

smarmy self-obsessed celebrity obsessed person so well every time he talks about shenaya is funny every single time he mentions we got shenaya she's going to be there she's you know whatever um the woman hates chicken salad the way he says that line is so fucking good it's again it's a comedic performance you know I love nominating comedic performances when they were snubbed and for as much as David O. Russell's a piece of shit I'd still go back and watch I heard Huckabee's often it's such a good movie so I know you love this movie and I know you love this performance because we

did a whole other stuff. I think it is the kind of like textbook for everything that Jude Law does incredibly well as a performer and I would say it's his best performance. And if you got nominated, maybe we wouldn't have had that whole ugly Chris Rock, Sean Penn. Interestingly, of the people who struck Chris Rock at an Oscars, Sean Penn wasn't the guy. Like, that's, you know, the upset of our lifetimes. Anyway, nominees 2004 for Supporting Actor. Morgan Freeman won his career Oscar for a million-dollar baby.

a good performance, but not one. You really think about too much anymore. Alan Alda got the surprise nomination for The Aviator, Thomas Hayden Church for Sideways, Jamie Fox for Collateral, and then Clive Owen for Closer. Here's my conundrum. I haven't seen the Aviator in a bit. I don't remember a ton about Alan Alda. He's in like two scenes, right? Maximum?

Like he's barely... I think it's a little bit more than that. he was kind of the late surge contender that year because he gets I think he doesn't like show up at the globe but I think shows up at SAG and BAFTA

I don't know about that let me look that up but there is this like late momentum where it feels like they kind of decided oh Alan Alda not only can we get the nomination for this but like he's had this incredibly long career that

we can honor yeah hold on you know of substantive supporting male performances in that movie. And he had never been nominated, right? That was the thing. He got... I believe not. Passed over for crimes and misdemeanors after most people thought he would be nominated and then they gave it to Landau instead. Let's see, Alan Alda. He's so good in marriage story. He was nominated at BAFTA and then he was not nominated individually at SAG. He was nominated as part of the ensemble. But he was nominated at BAFTA. So that was kind of your

you're maybe Canary and the Coal Mine about that. Anyway, it's a good performance, but it's small. Jamie Fox and Collateral is one of the more insulting Category Fraud decisions

of my lifetime. Sometimes category fraud is blatant and you think like, well, it's stupid that Haley Joel Osmond isn't supporting for the Sixth Sense because he's clearly the lead character in this movie, but they have a weird

thing about kids. And so we have all sort of decided to begrudgingly accept that that's what the Oscars do with kids. With collateral, I guess the thing is, I understand that Tom Cruise is a much bigger star and he's going to be your 1A on the call sheet, right? You know what I mean? Like, it's a Tom Cruise movie. But Jamie Fox is your main character. He is your protagonist. He is the person who the movie is about. But it's following in the mold that totally worked for Ethan Hawke in Training Day

just a few years beforehand. And I mean, I do also think it's a factor of he was so far out in front in the lead category that it's like I just mentioned, you know, Al Pacino pulling scent of a woman up to a Best Picture nomination.

Jamie Fox was so strong. He pulls up a whole other performance that's not even a supporting nomination. People are so excited about Jamie Fox that year that they nominate him in supporting too for another movie. It's a dumb decision. It's a fine performance.

It's not an Oscar-worthy performance even in lead. So I don't think he's bad. I am maybe a little bit less of a collateral person than a lot of people just in as much as I'm a little bit less of a Michael Mann person than a lot of people. But it's a good movie. It's a good performance.

It's not an Oscar-worthy. performance, and it is not a supporting performance, so I am booting Jamie Fox for collateral. Any further thoughts? And there we, and now we said it. Um, Chris, where are you going from here? Therese Balevette. It's lovely. And yours? Carol. Carol. Carol. All right. So, like I said, I might be a tad predictable this episode. But in researching this next snubby, I had forgotten how well of a run it had.

Bafta nominee, Indy Spirit nominee, Critics Choice nominee, Gotham nominee, Globe nominee for Best Picture of 2015. I had thought that, you know, it had seemed like more of an outside shot that it would get a best picture nomination. And that's not the case. We're talking about the great masterpiece, romantic cinema, queer cinema, Carol. Carol. The great beloved Carol. It's still so surprising that it wasn't nominated. There were only eight nominees that year.

Like, what the fuck? Like, there was room. Obviously, Harvey Weinstein did way worse things than his life. This year, the effort was so placed on. on The Hateful Eight, which is a hideous and deeply unpleasant and bad movie, where it's like, they're doing 70-millimeter screenings for the movie. Rolling out the full carpet for this, like, movie that seemingly very few people like, even the Tarantino diehards don't really ride for this movie.

Meanwhile, Carol, Carol was like the original, call me by your name, where people were complaining that it's been sitting in theaters for two months without expanding and people haven't seen it. They kind of let it die. They market it so horribly. Of course, you know, iconic camp TV spot where the movie is cut to look like it's a thriller. Which worked for the hours, so, you know. You know, queer cinema actresses finest, both of those right there. Talking about the movie, though, I mean, what can you say about it that hasn't been said? As many rewatches as I've had, there are things that I've never noticed before, but also things that maybe I didn't notice or remember on the last rewatch that I catch on the current rewatch, and it just like sparks so much.

There's so much life in the movie in every crevice of it, you know, the whole Frankenberg's culture, the thing where, like, Therese steps away, and there's literally another sales associate that steps up behind her as if on a conveyor belt. Yeah. The whole relationship between Sally and Carol, that friendship that's so clearly, like, maybe there was a romance, but it didn't really ever work on that level. we mentioned it in walking and talking that shot of them walking down the stairs holding each other a perfect romance I mean romance cinema is

all about glances things that are unsaid and this of course is contextualized through you know mid-century queer dynamics of you know gay women hiding in plain sight

and you know being able to benefit off of perhaps a misogyny that would not assume certain things about women and yet also the homophobia exists, this weird kind of dichotomy. Of course, straight people didn't get any of that, didn't get

any of the subtlety of this movie. It's a masterpiece. I even remember... I understand the thing about straight critics, but I remember even, like, queer critics sort of came around the back end of Carol and we're like...

movie is cold. It's cold and it's unengaging and it's too, you know, mannered and this is Todd Haynes's problem and yada, yada, yada, which was a, to each their own, obviously, but like was not a perspective that I at all understood. Yeah, I think those people are up a creek. I don't know how you watch this movie. And, I mean, I think some of it is there's, there was a shifting dynamic in terms of the way people watch movies. Carol does require you to be an active audience member. Sure. You have to kind of be giving it your attention for all of these, you know, meaningful

glances and the, you know, visual information that Todd Haynes is giving you throughout it. If you're going to be a passive viewer, it's not going to light a fire in you. But that's a you problem, not a Todd Haynes. As a lazy person, though, I loved Carol. So, like, I'm representing for lazy people who, lazy people who love Carol is the new weird guys who love the cell. Anyway, talk about the best picture lineup that year.

You know, not one that makes me super, super excited, even though there's movies that I love in there. Spotlight wins. The other nominees are the big short, Bridge of Spies, Brooklyn, Mad Max Fury Road, the Martian, the Revenant, and Room. Yes. What did you think of this best picture lineup?

I mean, it does sound like a cliche to be like highs and lows, but like, maybe the highs for me... Class average is high, relatively. Mad Max brings it up. I love Spotlight. I really love Brooklyn. I have problems with Brooklyn, but I do love it as a movie. I like Room. I like Bridge of Spies. Okay. I am not a hater of The Martian. I thought the Martian was a really good fun time. I've not revisited it then. It's not a particularly sticky movie in my head, but I remember really, really enjoying myself and was kind of flummoxed at the vitriol that that movie got in its awards run. And I'm up and down on the big short, and I was really down on The Revenant, even though The Revenant I am up on more than other people.

You're in Minyarra, too. I don't want to say Apologist. Some somewhat, whereas, like, I do hate some of his movies, but the Revenant is fine. It is what it is, and I don't think, like, I'm maybe more curious to revisit it than, like, interested to revisit it. I feel like it's just one of those things that kind of fizzles out of your brain after you watch it, but it can be an exciting watch the first time you see it, maybe. My thing about Brooklyn is that after that return, when she leaves New York, it kind of loses. me. It does. Because it feels somewhat contrived in a way that, like, I don't ever feel they, I don't, you just know how the movie's going to end. You know that there's no romantic spark

between her and Donald Gleason. Which is a, which is an outrage. Like, if Donald Gleason wants to marry you, my, my darling dear, you do it. I think, that's why I think it's a little contrived because, like, it should make sense, but it doesn't. And I think it, you know, It's maybe the movie overplaying its hand of, like, stacking the decks so that it does. It's a movie that stacks the deck. Whereas I wish that it felt more complicated. I get that. I wish that, you know, it felt like she was actually kind of losing something by returning to New York.

And when I watched the movie, I kind of don't. That being said, obviously, the big short is getting the boot. I did not boot Vice when I somewhat wanted to in a previous episode. I think the big short is Because people hate vice so much And because people hate don't look up so much I think this movie kind of dodges a lot of The same criticisms that in some ways I think are worse in the big short

I think the big short thinks that we are actively stupid As an audience in a way that pisses me off And I don't think it should be a best picture nominee We've had this argument about the big short before we don't really need to have it again. But yes, I, I, um, your choice, your rules, and I get it. Uh, hodge, they're let, uh, not hodge. Uh, we're not ugly people, hodge.

I can't help you with that. Harold, they are what? Lesbians. Yes, all right. I almost wish we were butterflies and lived but three summer days. Three such days with you I could feel with more delight than 50 common years could ever contain. So 2009 was the first year that they expanded Best Picture to 10. But Best Director still stayed at 9, which gives maybe, assuming that trends continue,

it gives you a little bit of window into maybe the movies that were strongest in Best Picture that year. I am choosing to add a little bit of class, a little bit of beauty into the Best Director race of 2009. by adding Jane Campion for Bright Star to the lineup. What a wonderful movie. What a gorgeous, beautiful, well-directed, sensitive, wonderfully performed movie that Bright Star is. Comes at a very interesting time for Jane Campion, where she makes in the cut, and then Hollywood is like, no more. We are, we're done. She was banished.

Basically, and it takes her a while to come back with her next movie, and then she does with Bright Star, and then I think a lot of people were like, oh, a movie about poets, and it's quiet and sort of soft and beautiful, and it sort of got lumped into this, like, well, it's a art direction costume movie. We can't do an episode on it because it's a costume design nominee, and rightly so. it's more than that to me. It's my favorite Jane Campion movie. It is so beautiful, but it's beyond that. It's it is if not my favorite

on-screen romance, then like my favorite romantic drama. You know what I mean? I tend to appreciate romance when it comes with a side of comedy. We talked about when Harry met Sally in our previous episode. But the the depth of feeling that Bright Star gets from its aesthetics, that it then complements these two performances by Abby Cornish

and Ben Wishaw are, it's really, really wonderful. And Campion sort of moves those elements into and around and through each other, you know, the way that Abby Cornish will be reading a letter with you know, sort of butterflies literally flapping around her or Keats will be sort of composing a poem

while like lying in a tree of pink, you know, flowers or whatever. And it's just the way the movie uses color and the way the movie uses, you know, dialogue and it's my favorite. It's my favorite

of Dean Campions. We, again, we can't do an episode on Bright Star, but I imagine you like this movie as much as I do. Oh, of course. Um, love that it's on this list. Uh, quintessential Joe reed pick. Yeah. I also think not unlike Carol, that it's like the people that don't get this movie are the same people that don't get Carol because it's, it's a lot of the same type of thing, you know, where it's like, if you're not on, it's wavelength. If you're not being an active viewer to it, it's maybe going, the emotional power of this movie is maybe going to miss you. Yeah. Um, Paul Schneider's

performance is spectacular. So good. Yeah. What is his line? Who is like not full villain, but like for the efforts of the story is the villain. But he has the most emotional line in the movie, I think, or one of them at least when he says I failed John Keats. And it's so sad. And oh, gosh.

Spoiler alert. John Keats died. Well, yeah. You know, however long ago. Whispy tubercular thing. thing, yeah. One thing I remember, because it wasn't, it didn't get this, you know, hugely heralded release, which, you know, for the return of Jane Campion should have, it was released by this very, very short-lived distribution house called Apparition. Right.

They also got a costume nomination for the Young Victoria. Or win? Win? Win, I think, for the Young Victoria. I think that's right. But it didn't last very long. It lasted for like a year, less than 10 movies. good movie all right so the nominees that year for best director that was the year that barbara stricent finally was able to bestow the honor of the first ever woman best director uh on to katherine bigelow for the hurt locker she defeated her ex-husband james cameron for avatar quentin tarentino for inglorious bastards lee daniels for precious based on the novel pushed by sapphire and jason wrightman for up in the air now i know what you're thinking

I know listeners and also Chris that you're thinking, here's where Joe is going to be petty and is going to stick it to James Cameron for Avatar for all of those people who were so annoying about Avatar and, you know, retribution for all my years of annoyance. Well, you know what? When I greet Joe with How is Your Baby? And he says my baby is strong. his baby that he's referring to is his hatred for the avatar movies.

Here's the thing. I didn't hate the second avatar. I still think it was wildly overrated, but I did not hate the second avatar. I was often flummoxed by the second avatar, but I didn't hate it. I don't like the first avatar, but here's the other thing is

I don't think Jason Reitman should be a nominee for up in the air. I know this is like hindsight and whatever, and this is like post Ghostbusters remake for Jason Reitman, and, you know, I'm annoyed with him for that, and yada, yada. I think up in the air is a okay movie whose virtues are not really in the direction of it. You know what I mean? Are in the performances and are in the performances.

You know what I mean? Like, it's a well-performed movie with a good cast, and I respect the... the inclusion of those exit interviews in the movie. Yes. However, I think the way that they are assembled into the movie is a little clumsy. Yeah. Yes.

Plus, it just... I respect the choice, not the execution. Plus, I think in general, just this idea of, like, the most shallow man in America who only cares about frequent flyer miles. And he, you know, he would be happiest in the world where he's, you know, getting his rewards points and flying everywhere and yada yada yada is a little pat um and you know it doesn't understand that the world around him people are losing their job and it's like it was a little pat um it's not a bad movie it's actually a pretty strong best

director field i think right um and he's the least of it and i think campion slots in a lot better and all of a sudden then you know maybe then the whole story is in katherine bigelow being the Only woman and yet, yad, yada. And then, you know, it's a little bit more of a holistic category with Jane Campion in there. So, yes, that's the way I would go. So there, Avatar people. Give me a fucking break from now on. Okay.

I see you, Joe. Chris, where are you going? There are seven deadly sands, captain. Glutiny. Greed. Sloth, wrath, pride, lust. and envy. Seven.

Okay, so we all know I am an advocate for more gross nominees at the Oscars. I think, you know, we've talked about it in visual effects. We've talked about it in makeup, even somewhat in costume that, like, I want to see, like, gore and gross shit nominated because, like, it's such a, you know, it's a visceral thing as a viewer. Kronenbergian that you are. Yeah, yeah, yeah. This next one, I think, actually extends to best art direction. In 1995, I'm talking about Arthur Max's work on the motion picture, seven.

Yeah. Seven gets an editing nomination. Seven is definitely, seven weirdly, we talk about almost not at all when we talk about David Fincher anymore. And I think it's because, you know, people probably, you know, got it all out in the 90s over their obsession over seven. And now we've just simply moved on. And there's more to talk about it in 50s. interest filmography. However, I think as far as the set decoration, the art direction work in this movie is so essential to our experience of terror in this movie, not even just the sets of some of these sins or the set of John Doe's home, but just like how awful the streets of Los Angeles

look at this movie. The real sense of world building. is kind of off the fucking charts in this movie, but not the type of thing that, you know, the next year they would go and nominate William Shakespeare's Romeo plus Juliet rightfully so. And it's like, maybe it's just crucifix imagery

that makes me think of those two movies, but for, I don't know, the the actual individual set pieces in this movie are so much of what turns our skin in this movie, so much of what like You hear about people talking. I remember when this movie came out, people vomited from this movie.

It's just so intense, and there's so much detail in all of it. Yes. Like, it's kind of unfathomable. You wouldn't recognize the art direction for this movie. The task that is set before Arthur Max in this movie to assemble these different crime scenes, right? Almost requires him to step into the shoes of John Doe, right? And because so much of what John Doe is doing is assembling these crime scenes for maximum shock value for the police to observe and for the spectacle of it all to, you know, impress upon the public and whatnot. And that's essentially what Arthur Max has to do is he's the one who's, you know, tasked with getting the Christmas tree air fresheners, you know, hanging from that, like that moment in that scene.

Assembling all of those John Doe journals that were all filled with gobbledygook rantings and such. Right. The congealed bowl of soup and whatnot and, like, just, oh, God, all of these horrifying things. Well, especially early in Fincher's career, it feels like all of that just gets credited to Fincher. Sure. And not the craft people that he's working with. And I think that's some of what is at play here. Sure.

I still think it's one of Fincher's most impressive movies. It's a movie that I revisit more often than you'd think for a movie that is as off-putting in many ways as seven can be. But I think it's just a tremendously made movie, and the aesthetics of it were so highly praised at the time. I remember Roger Ebert specifically talking about this city where it never stops raining and just the feel of it. The city feels very tactile. And, yeah, tremendous. Arthur Max, I should also say, I just looked up his awards tab on IMDB. It's a three-time Oscar nominee for Gladiator and American Gangster and The Martian.

And, like, Seven blows all of those out of the water as far as I'm concerned with the work. Seven, just a movie that if you haven't watched it in a while, definitely revisit because I do think it hits even harder if you haven't seen it in a few years. because it's just like, fuck, this movie still does not miss. And I think, you know, once we've gotten outside of the immediate shock of the movie in the 90s when it was released of all of the violence in it. And, of course, it's one of those movies where you don't really see any act of violence on screen, but it, you know, taps into your subconscious in a way that it's like violence you as a human being are afraid of. Like, you have a natural phobia for it that it's like, it's so visceral. it makes you think you've seen that violence. Yeah, seven hits really hard if you haven't watched it recently.

Yeah, agreed. So, who are you booting? Oh, yeah. The nominations. Restoration, completely forgotten costume drama, Restoration. Yes. Wins the Art Direction category. Also nominated are Apollo 13, Babe, A Little Princess, and Richard the third.

Richard the third, the Ian McKellen, modern updating, right? Didn't they move that to, like, World War II or something like that? Yeah, it's like vaguely Mussolini-Nazism type of... Good movie. I like that movie. Cool movie, yeah. Because of the, like, fourth wall break that, you know, he's doing these soliloquies directly to the camera. Sometimes it doesn't always work, and it makes it kind of a dated movie.

But otherwise, pretty cool movie. Yeah. I'm going to house down boot restoration. My apologies to restoration. I just don't see myself giving the boot to any of the other ones. I think especially Apollo 13 is really incredible in recreating all of those NASA spaces and the spaceship, et cetera. Restoration is one of those movies that like fully won multiple Oscars and yet it feels like we should do an episode on it. You know what I mean? where because it's just it's so it's so forgotten even though it won again multiple Oscars it's kind of amazing yeah no sir did I buy my thumb at you sir but I buy my damn sir do you quarrel sir no sir but if you do say for you I serve it's going to manage you for my next trick ladies and gentlemen I am taking us to a movie that you just mentioned in fact yeah sorry for kind of stumbling into accidentally saying this up for you. Yeah. The very next year after seven, there's a little movie called William Shakespeare's Romeo Plus Julia, directed by Bazlerman.

One of my favorite movies of the 90s, one of my beloved's, and there were a lot of directions I could have gone with this, right? Obviously Best Director for Baz Luhrman is on the table.

In many ways, it's still my favorite of his movies. Like, I don't think. He's made anything since that I love more, even though I'm generally a fan. I like Elvis a lot. I love Moulin Rouge. But Romeo and Juliet is the tits for me. It is so, so much fun. It was nominated for, what did you say? Art direction. Was that it? Was that its only nomination? I do believe, but I'll double check. Thanks. Yeah, I think you're right. I think it was just the one. deserved much more than that.

I am giving it Best Film Editing for the year 1996. Jill Bilcock is the editor. She would be nominated for Moulin Rouge several years later. I could have also done costumes. You know what I mean? I could have also done makeup. But the editing in this movie, yeah, the editing in this movie is, it's very showy, right? It's very much apparent, right?

these quick cuts, these music video style scenes, and yet that's the showy part about it, right? The scenes were the, you know, the fight with the guns that are called swords at the gas station or whatever, and, you know, the cut to John Leguizamo and his gold teeth and whatever, gold tooth. And yet within this same movie, you get a scene as impeccably edited as the fish tank. kissing you scene where the Desry song is playing and they first see each other. And that is a masterpiece scene of art direction, which was nominated, the colors and it's cinematography and it's directing and it's acting the way these two faces sort of peer at each other. But it's also editing in that it is edited in time with the music, but also as this like dance between them, right? where it's like face and face.

And it's that little masterpiece of a scene, I've talked a lot about how that scene is maybe one of my favorite just scenes in all movies. Like it could exist as a short film. It's so good. In this same movie that has, again, these music video cuts and these fast action and these very kind of jarring modern in-your-face editing techniques, is an editor who knows what this movie requires. And it's not just excess, even though this movie has a lot of excess.

It's using that excess to then set up these other moments that can exist on their own. And it's such good work. I don't know. I know you love this movie too. Absolutely. So the nominees this year, 1996, this was, of course, the big. Miramax indie revolution. The English patient wins for best editing,

which I know a lot of people will laugh at because any time a super long movie wins for best editing, everybody is like, I could have used a lot more editing, right? Evita, Fargo, Jerry Maguire, Shine. Now, you've talked about assembling a list of movies that have gotten the boot from us multiple times. And I have already booted Shine

from the screenplay category for walking and talking. Here's the other thing I want to talk to you about, though. It has been a while since I've seen Evita. Avita does feel the bloat a little bit, right? Like... I mean, it's an ocean liner of a musical. Right. But there are some really incredible montage sequences there that I think...

That's what I'm sort of remembering. Really, really well. Right. And I think some of the numbers, I really like Buenos Aires in the movie. Like, I really think it's a energetic and fun. on, you know, number. I think some of the other stuff feels like it's edited a little snoozy to me, and this is why I'm at least flipping a coin maybe between Evita and Shine.

I think Shine does have some energy to it, especially the, you know, the piano scenes with David Healthcott and stuff like that. I don't want to call the, you know, call upon the bad karma of booting a Madonna movie. me from a category. They'll find you. They will find you. They will find me. But I think that's what I'm doing.

I think I'm booted Neveda from this. Wow. Are you just afraid to boot shine twice? Like, are you afraid the shine stands are going to come for you? No, I maybe feel a little bit bad about picking on a movie that I think is ultimately fine. But I also do feel like that I think the editing is, I think it's zippy. I think there's some zippy editing to shine. those pianists.

It's like more big picture, too. Like, it's structuring this kind of back and forth time. Yeah. Yeah. Not time jump, but like, you know. Yeah. This kind of nesting doll approach. Yeah. So, again, I don't know, come at me,

Alan Parker stands. I am booting Avita. Where are you going next? I'm your older brother, Mike, and I was stepped over. That's the way pop one. It ain't the way I wanted it. I can handle things. I'm smart.

Not like everybody says. Like dumb, I'm smart and I want respect. So I'm taking us to a sad story, but one that I think kind of had to be included, not even approaching it from the category standpoint, but approaching it from this actor. Um, obviously John Cazal's story is a tragic one, um, dying somewhat at the beginning of his career, but, um, his, you know, work in film, as short as it was, he yielded nothing but Best Picture nominees. Yeah. Um, so like, suck on that, Leo DiCaprio. Um, obviously, you know, he was Merrill's partner originally. She nursed him through his death. Um, and I feel like,

you know, it's just one of those kind of injustices, not only that his life was so short, but that he never got to be an Oscar nominee, like he absolutely certainly would have been. He would be an Oscar winner, just because in that short time, you know, all of his work is

incredible, and he's in movies like obviously the first two godfather's dog day afternoon, the deer hunter. So I kind of struggled with, okay, well, which one do I want to give John Cazel? He's Globe nominated for Dog Day Afternoon, but the one I decided, I just went with his most iconic one, which is the Godfather Part 2 for Fredo. It's the right call.

I mean, it's just, having recently watched The Godfather Part 2, it's interesting how the movie kind of forgets Fredo for a certain section. And I think one of the things that makes Fredo so iconic and so memorable and so tragic is that performance. And I think, you know, Godfather Parts. Part 2, on my recent we watch, you know, it's interesting because it's very different from the first one, but I do think the thing that kind of grounds it emotionally is the betrayal and the heartbreak of Fredo. So I'm going that way with 1974. However, Godfather Part 2 already has three supporting actor nominations. Both Godfather, both the first two Godfather movies each had three supporting actor nominations. erroneously putting Pacino in supporting, which is bug nuts.

De Niro wins for playing the Young Donvito. Fred Astaire for the Towering Inferno. Jeff Bridges for Thunderbolt and Lightfoot, which I haven't seen, but I have heard, is... Is that one of those movies like Harry and Tonto and Wendy and Lucy were one of the characters in the title as an animal? No, because I believe the other one is Clint Eastwood. Oh, so it's two people. Okay, gotcha, got you, gotcha. Yes.

Clearly, I also have not seen Thunderbolt and Lightfoot. For a second, I thought you were going to speak ill of Harry and Tonto. I know you love Harry and Tonto. Speaking of 1974. Yeah, yeah, yeah. And then the other two nominees are Michael V. Gazzo and Lee Strasberg for The Godfather Part 2. All the Godfather performances are great. So am I saying I'm going to give it four supporting actor nominations?

I think I am, and I'm booting Fred Astaire. I'm surprised, okay. It's totally Helen Hayes and airport type. Oh, yeah, sure, yeah, yeah. Where it's just like here, well, I mean, there's a lot of people who like that Helen Hayes performance. But, Fred, I mean, it's just like here's an old, here's an old Hollywood performer in this big giant blockbuster, the Towering Inferno, being a best picture nominee, I guess. I was totally prepared for you to boot Michael Vigato, even though I think he is wonderful in that movie. Oh, he's tremendous in the movie.

Like, I really did not give much credit, especially Lee Strasbourg, if I'm being honest. Strasbourg's terrifying, yeah. I'm probably giving Strasbourg the fucking win, man, over De Niro. All right, all right. I have a sense I would be booting bridges if I'd seen the movie because I've heard enough about it as a movie of blatant homophobia. but I don't know if I'm with you that I'm not booting things I haven't seen. Chris at his most Stephanie Germanada

in giving Lee Strasberg the win for Godfather Part 2. If she could give Stella Adler. We'll be nominated with Circle and the Square. Stella Eisner is coming up. Oh, fantastic. All right. Great movie, though, part 2.

I mean, John Casabot, what a fucking... I know, what a career. What a career. I was almost even tempted to put in the deer hunter because in The Deer Hunter, he brings this totally other energy and, like, a very different performance from... The Dog Day Afternoon is a very different performance from his other ones, too. It's like, it's interesting the amount of range that he shows and just these supporting roles. It's not only all Best Picture nominees also, it's like all legitimately great best picture nominees and winners.

You know what I mean? It's like, it's not like there's empty calories there. They're all great movies and great performances. Yeah. We lost so much. I mean, just like talking about River Phoenix at the top of this mini-series, just a performer that we lost so much by not, you know, having them around for more movies and more performances. Yeah, that's true.

Shall I go next? You shall. Mom, is that you? No, it's me. Yara? Yeah. Don't open the door. See?

everything's okay I'm taking this to 2015 the best cinematography category of 2015 which we just what did we just do? Oh, Carol for Best Picture in 2015. So Carol. Different category, cinematography

for this year. I am picking a movie that was not ever a real contender, which is too bad because I'm going to chalk it up to other than many things the genre snobbery. But I am nominating the tremendous

horror movie It Follows for Best Cinematography in 2015 for the work of Mike Giolakis cinematographer for It Follows. He is also, later on, did the cinematography for us, a movie we covered on this podcast,

and for a bunch of recent M. Night Shyamalan movies split and glass and old. So he is the He is the cinematographer that took us to the beach that makes you old and deserves our respect for that. Wow. And also in It Follows, there's a sex scene in a mid-sized sedan. Whoa.

Actually, I think that's a pretty big Cadillac or something like that. But you get the reference. We do get the reference. It Follows is terrifying. It follows is one of my favorite horror movies of the last 20 years. and it's so well filmed. And it's one of those movies where it's just like it's, there are certain horror movies that you respect,

and then there are certain horror movies that you feel in your bones, and sometimes you get both. And it follows as definitely a movie that is both. The filmmaking is really tremendous. I've talked before about one of my favorite things in horror, and one of the things that terrifies me the most, is a steady long shot where you see something coming and the characters don't necessarily see it coming

and you can, and that's it follows. Like the scene where the old lady, the girls in class... You are an old lady. The girls in class and out the window is this old woman who is just sort of steadily walking straight towards her and you don't realize which person you're supposed to be focusing on at first, right? And it's like, and it's, and then the camera finally, you know, cuts to, you know, interior and then it's, you know, this lady's sort of like coming dead on. And those are,

you know, decisions, right? Your decision is to sort of like park the camera or whatever. But there are other ones where the camera's moving or the setups are, you know, less static and it's, you know, a lot of it is camera placement, which obviously just in tandem with the director, David Robert Mitchell. And it's so, a lot of the times, at least for me, I don't know if you have this problem, Chris, you're probably better at this than I am. Differentiating what is cinematography and what is directing and what accomplishment to credit to who is tough, right? Because a lot of these things are decisions versus techniques. A lot of cinematography is things like lighting and a lot of directing is overview, right? You know what I

mean? Like these decisions are ultimately... What's the story? Right. These decisions are coming down to, you know, from the director. And sometimes when you see a movie and it's like that movie looks so good, cinematography triumph. And oftentimes that is the case. But I at least sometimes have trouble differentiating. But I think the thing with it follows is the shots themselves, the quality of the, you know, the way that these images are shot and are moving toward us, enhances my experience of being absolutely terrified in this movie. And there are too many shots and moments to, you know, to limit. But like anything where this, even the last scene, right, where they're walking down the sidewalk. And anytime you see anything else in that frame, you're supposed to, you've been trained to, you know, lock on it, right?

At this point. So anything can be terrifying. And, oh, I love this movie. I watch this movie so, so often. And every time I do, there's something, you know, new that jumps out to me. And a lot of it is visual, so. I like this movie a lot, too. I like that you have this on your list to call it out.

There's, I mean, we think about what is most, you know, talked about or memorable the movie is some of these slow static shots where something's going on like you're talking about. There is actually a lot of visual variety in this movie. Yes, you know, made it a more, one of the more distinctive horror movies of the past decade or so. Yeah. I mean, there are just actual, just plain, flat-out triumphs of lighting work in this movie. I think especially of that horrifying shot that is just like, I remember the experience of seeing it in a theater with like three other people. But we all were like, was the shot where the super tall guy just very quickly emerges out of the dark. Yes.

Just, I know. I watched this movie I mentioned this before I watched this movie with Friend of the podcast Nick Davis at Toronto in the very back row of one of the smaller

TIF theaters and we were both just sort of like gripping the common armrest between us and sort of like jostling for position Oh Nick Davis we miss you What a fun time that was

Never forget it What a good screening Okay so the nominees That year 2015 Best of Monotography This is Emmanuel Lebeske's third Oscar in a row for Best Cinematography. He had won previously for Gravity, and then Birdman, and The Revenant made it three. Other nominees were Ed Lockman for Carol, who actually won the Independent Spirit Award that year,

which It Follows was nominated for. That was the one cinematography award that it follows got nominated for. Ed Lockman very deservedly wins for Carol. Robert Richardson for The Hateful Eight, John Seale for Mad Max Fury Road, and then Roger Deacons for Sicario. This is a very talented lineup of cinematographers, just irrespective of the films.

Like Lubbetsky, Lockman, Richardson, Seal, Deacons. Like, that is, that's a Hall of Fame lineup right there. And the only reason I'm booting one of them is because of the actual specific movie, You mentioned it before when you were talking about Best Picture, even though it wasn't nominated for Best Picture, is the Hateful Eight. I don't think it's a very good movie. Bye. Who gives a fuck?

I like Robert Richardson a lot as a cinematographer. He did the cinematography for JFK, so he is in my Hall of Fame forever. But this one particular, I don't need it. It follows is much better. It's not bad work from Richardson, too. I think that movie got so much more credibility simply by the controversy. Of Robert Richardson and Ennio Morricone, they do so much to elevate that piece of crap. Agreed. Regardless, I could also, I guess, boot deacons for Sicario, but I like Sicario enough.

And I like, I think for as much as certain aspects of that movie don't entirely work, the camera work in the, especially some of those action scenes are really, really. good. And yeah, so booting hateful eight, adding it follows, I think then you have a category of four legends and one real up-and-coming exciting cinematographer in Mike Gialakas. So I'm happy with that. Chris, what do you have next? A kiss may be grand, but it won't pay the rental on your humble flat or help you at the So keeping us somewhat in a somber tone, but hopefully lifting us out, I'm talking about another performer who legendary, who legendarily was never nominated for an Oscar and left us far too soon. Obviously, recently a heated debate around this performer because of a certain movie that will go nameless because it is a piece of shit. We're talking about none other than the Legend, Marilyn Monroe. And I also, this is a movie, I'm putting her in here for a movie that I also wanted to

pull out to no Oscar nominations whatsoever for this movie. One of my favorite movies of all time, I would probably argue the funniest movie of all time. And one of her most iconic, it's gentlemen prefer Blanche, best actress of 1953. very um obviously the you know first thought uh as far as the culture is concerned is the diamonds are a girl's best friend number uh with the pink dress etc yeah but you know that's kind of the one of the 11 o'clock numbers of the movie i would also it feels rude to a rude and incorrect to just mention

Marilyn Monroe here. If I could have two, I would also be putting Jane Russell in there, because I do love, I fucking adore Jane Russell in this movie. But Marilyn Monroe is like, line for line, constantly just like knocking the shit

down. Everything out of her mouth is so goddamn funny. As a physical comedian, she is incredible as well. And it's just like it's, you know, Some people have their own pet favorites of her work, but I think it's the quintessential Marilyn Monroe performance

in terms of how outright intelligently funny she could be and just this incredible screen persona. And, you know, when we talk about comedic performances that have been nominated for Oscars, it's not that different than, you know, something like Joan Cusack for a working girl. It's just she gets to do it for the whole run of the movie. And then do musical sequences that, you know, are imprinted on, you know, film history.

Yeah. So who was nominated instead? This is the year Audrey Hepburn wins for Roman Holiday. Nominees are also Leslie Caron for Lily, Eva Gardner, her only nomination. for Mogambo, Deborah Carr for From Here to Eternity, and Maggie McNamara for the moon is blue. Have you seen any of these movies? I'm sure you've seen

gentlemen prefer blondes, right? I've not seen any of these movies including Jennifer Gentleman Prefer Blonde. I'm going to be so fucking rude to you until you watch gentlemen prefer blonde. Okay. Just like, you know, movies that get, there's so many movies that get credited for like

gutbuster a minute laugh ratio. Yeah. and gentlemen prefer blondes is absolutely up there with those movies. All right. It's already on the list. I'll bump it up the list. Yeah. Yes, absolutely put it at the top of your list.

From this lineup, you know, the Ava Gardner McGambo nomination and Grace Kelly is also nominated and supporting for that movie is wild. It's just this like sort of relationship drama with Clark Gable where there's like, like, like multiple couples happening, but they're on a safari expedition. Okay. It's so weird. So weird. I am, of course, not taking, uh, it's a John Ford movie. I'm not taking Ava Gardner's one nomination away.

And she is fabulous in the movie. It's a lot of just like really exquisite, you know, meaningful glances. Sure. And, uh, you know, just savoring syllables. Um, Okay. Lily is one of the stupidest fucking things I've ever seen. What a weird movie.

Leslie Caron is like supposed to be like 14 or something and she is basically gaslit into falling in love with a puppeteer in a circus. Okay. There's these weird fantasy musical sequences which is like I shouldn't hate the movie because like go off, love it. It's kind of like, I don't know, it's like, Lily is like Nightmare Alley for Sexual Predators. Oh, no. One of the dumbest things I have ever seen. That's funny. Not to shit on, you know, a movie that's 70 years old, less I look like an idiot.

But, yeah, that's my boot. Sorry, Leslie Caron. Joshok Abor is in that movie. I just, I brought it up on that. Charles Walters directed that movie. Okay. Oh, I'm like literally the first photo on IMDB is Leslie Caron talking to a puppet, it seems like. Yeah, she's, like, she's, yeah, yeah.

An orphaned young woman becomes part of a puppet act and forms a relationship with the antisocial puppeteer. You really don't get movies like that anymore, Chris, is what I'm going to say. That log line doesn't really assert itself too often. You know, I've seen some people dog on some. musicals or quasi musicals in this era that the Academy nominated that it's like, well, they just nominated these type of foe

splashy musicals. This movie is absolutely the worst of them. It looks like shit. It looks cheap as hell even by those standards. And I gather that it's like it was like their

costume cinematography kind of you know, just like that type of movie, uh, respected in that way, but it is dumb. All right. I respect this. I love this choice.

I respect your boots. Especially opposite gentlemen prefer blondes, which is like masterclass musical. Sure. Yes. All right. I love this. Joe, look to the skies.

What? Oh, no. Is it another hot air balloon? It's coming in fast. It is like not only a really good aeronaut. Like maybe some, many have said that this is the best Aeronaut. Coming for a crash landing, Joe, it's Jorge Molina. Oh my god, Jorge, careful landing that balloon on our, uh, on the piazza here. And, uh, once you land, let us know who you're choosing

for your Oscar snub. Hello, my name is Joan Crawford, and I am here on behalf of past guest, Jorge Molina, to accept this award for him. Now, hi, hello, boys. It's Jorge of Big Eyes in Bayeotia dinner fame. And I am bringing to the table as one of this had Oscar buses 100 snubs, Joan Crawford in whatever happened to Baby Jane, best actress during the 35th Academy Awards. However, it is not just because I love the quality of the performance that was left out so much, although I do believe Crawford is just as good as Betty Davis in the movie, and actually has a harder job in it. Blanche is a straight woman to baby Jane's lunacy, and she brings empathy and pathos to a character that could have easily gotten swallowed

down. No, no, it is because of the Oscars moment that that snub brought us. Whatever happened to Baby Jane was sold as a Davis Crawford joint project from the start. It was meant to revitalize both of their careers equally and led to one of the most controversial and fascinating productions in Hollywood history. The tension and onset quarrels between the two of them became stuff of legends. And yes, this is where I point everyone that hasn't done so to go watch what I think is Ryan Murphy's magnum opus, the miniseries viewed Betty and Joan. Seriously, it is so good. In the end, however, only Davis ended up getting an Oscar nomination alongside eventual winner. Anne Bancroft, Catherine Hepburn, Geraldine Page, and Lee Remick, with Crawford getting

snubbed. Here's where we cue Susan Sarandon saying, define a snub. But Crawford wasn't going to go without a fight. Like a good, messy bitch who lives for drama, she personally phoned every single other nominee in the lineup and convinced them not to attend the ceremony and let her accept the award on their behalf if they were to win. Because who could say no to Joan Crawford? They all agreed. During the ceremony, when Anne Bancroft's name was announced, Jones stepped into the stage and accepted the award for her as an inflame Betty Davis watch from the sidelines. Again, watch the one episode of feud devoted to the Oscars. It's thrilling television. So as much as I adored the movie, I actually wouldn't trade any of the actual nominees with Crawford

because her snob gave us one of the most divine moments in Oscar's history that could have only ever existed with those stars in that point in time. Remember, snubs are never about hate, snubs are about pain. Perfect exit line, Jorge. Wow, the best aeronaut, great guest. And messy bitch who lives for drama. I love any of our inclusions that really are just about the drama. Well, I mean, we can't resist, right?

That's plain to see. I love this choice. It is both qualitatively good. I think it's, you really can't have one without the other and whatever happened to baby Jane. They both performed that so well. It is also a indelible moment of Oscar lore. So yes, we will happily accept this suggestion from Jorge.

Thank you, Jorge. Safe travels as you fire up the burner on your balloon. Go touchdown at the home of Salma Hyak's character and Magic Mike's last dance. She's still, you know, holding the party. You can catch it by the end there and have a good time. All right. Shall we continue? All right.

Isn't the whole point that Tramp changes? Okay, maybe in the past he stole chickens, ran around without a license, and wasn't always sincere with members of the opposite sex, but through his love for lady and the beneficent influences of fatherhood and matrimony, he changes and becomes a valued member of that. you know, rather idyllic household. 1998 best

screenplay. Original screenplay, yes. 1998, best original screenplay. I'm going to give this nomination to one of my just go-to favorite movies. I watched it again this morning for

you know, countless I've lost count of the number of times I've seen this movie. It's with Witt Stillman's Last Days of Disco. Witt Stillman was nominated for Metropolitan in 1990, which was his breakthrough movie. A really interesting, you know, nomination, especially looking back. I love it when the screenplay category really goes off of the, you know, the beaten path of what the other nominees are that year. I would say the last days of disco is definitely my favorite of the Witt Stilman movie is definitely

I think the screenplay that I wish he was nominated for instead nothing against Metropolitan if we had to choose is all I'm saying. So it's a movie that is deceptively clever, right? It's a movie that is deceptively

not intuitive, insightful, is the one that I'm looking for that begins with an I am about its subject. matter. I think on the surface, you look at this movie and you're like, oh, a movie about the disco era starring, you know, Witt Stillman's parade of, you know, white preppy achievers and whatever. And I'm like, yeah, that's the point, right? The point of it is this was the, this was the end of the disco era as experienced by the, you know, the interlopers and the status seekers and the yuppies and the, you know, and it, and it follows their story, and they are insufferable, but in that

with Stillman way where they're, like, fascinatingly so, right? Their conversations are sparklingly written inanities, and, you know, they're all sort of telling on themselves in different ways. Cape Beck and Sale and Chris Eigman in particular give every single one of these perfectly scripted lines just exactly the right. tone of like ludicrous self-regard and

this kind of false brand of introspection that feels very self-serving. Witt Stillman is an expert in all of that creates a movie of perfect and hilarious dialogue that is also a

really interesting comment on this particular era and this idea of sort of social movements coming to an end when it sort of filters down to people who don't know what they want from this era except that they want to belong to it or to something or to, you know, take a grab at that status even briefly. And yet it's also very likable.

For as much as like, for as much as a lot of these characters are unlikable, it is a very charming movie. It is a very watchable movie. You don't sort of like, you know, it's not a movie that you hate watch. Right? It's not a, you know, that Matt Kiesler character is actually like really sweet. His little speech at the end where he talks about like the disco era and what it's going to mean. And it's so silly that it's coming from this character. And yet he's, you know, it's very heartfelt. Anyway, a tremendous movie goes to with Stillman. Surprisingly, because it's, you know, his movies can be so biting at times. It's so clear that there's no ill will meant towards any of these. characters that he creates. This is not an angry movie. This is not a bitter movie.

There's appreciation in these characters being as off the mark as they are, right? It's a lovely movie. It's so much fun. I love it so much. So, yeah, definitely

the screenplay of his that I would like to add an Oscar nomination for. The nominees that year, Mark Norman and Tom Stoppard win the Oscar for Shakespeare in Love. Warren Beatty and Jeremy Pixer are nominated for Bullworth. Roberto Benini and Vincenzo Cerami for Life is Beautiful. Robert Rodot for Saving Private Ryan and then Andrew Nickel for The Truman Show.

What do we think of this lineup, Chris? Easy answer. Yeah, I think so. Ultimately, I like most of these movies. I imagine my lineup in 98 is much, much, much different from this. But, like, Shakespeare in Love is the good and rightful winner, although I'd have probably given it among these nominees to Andrew Nicol for the Truman Show, just because I think there is, you know, there is insight and forward thinking

and uncanniness in the Truman Show that really probably deserved. And Shakespeare in Love was winning everything that year. But, yeah, you get rid of life is beautiful. Like, it's just, I think any time we talk about anything in 98 that's going to get booted, we're probably going to talk about life is beautiful. It's just not the movie for me. We talked in the last time about how much I'm a little bit reluctant to dump on this movie because there were people who genuinely really liked it, but it's not the movie for me. And certainly on a screenplay level, like, God, there's so many better screenplays. Whereas, with Stillman's script, it's like, it's just so smart, especially like using history to,

you know, be emblematic of something else because, you know, it's set in this period of, you know, the title says it all the last days of disco. As disco is dying and these white yuppies have their hand on it, so of course it's not cool anymore. But it's also about that time of your life where you're moving past a certain group of friends that have been your friends from, you know, a youthful time. College, yeah, yeah, yeah, college or, you know. You know, I think if you connect to it, you might see, like, high school friends in yourself in this movie. And it's like a time that is supposed, that is looked back on as if it is frivolous, which is the way that people look at the genre of disco, too. So the mirroring of those two is a lot more elegant than I made it sound, but is smart and funny and results in a really joyful movie. I always think of the ending set to the OJ's. And it's just fucking exquisite. Also, just, and this has nothing to do with the screenplay, but, like, that soundtrack is perfectly appointed, just wall to wall. I mean, in some ways, assembling a disco soundtrack is the easiest job in the world because you just have, like, a plethora of fantastic choices, but...

It doesn't choose the obvious choices, though. Not always. Yes, you're right about that. All right, Chris, where are you going next? I can't say I didn't enjoy some of it. Nick teased out in me things I didn't know existed. A lightness, a humor, an ease. But I made him smarter, sharper. I inspired him to rise to my level.

I forged the man of my dreams. So I have another movie that I had a hard time placing in terms of where I wanted to put it snub. So I kind of took the easy route and chose the most obvious one, the one that is, still so thoroughly shocking this nomination didn't happen for this movie even if I might have put it elsewhere I feel more strongly about it. We're talking Best Adapted

Screenplay of 2014 How the fuck did Gillian Flynn not get nominated for Gone Girl? I know. Shows up everywhere. I think it's ultimately that the Academy did not get or understand that movie. It's very possible. I would think about putting it for

I thought about snubs for a director Picture. Best actor. Ben Affleck will never have a better performance in his entire career. Why? Because in this movie, he is playing Ben Affleck. The other thing about Gone Girl, on an adaptation level, is everybody read that book, that same year. Like, everybody was reading that book at the same time. I brought that book. I was so excited to read that book on vacation. That was like, I was so glad I was going on vacation that summer because I'm like, oh my God. I'm going to read this entire book, you know, while sitting on, you know, this, you know, comfortable little sun portion. That's exactly the fucking thing that I did. It was so good. Well, and I think people, I mean, how often have, like, things that people think are junkie get nominated for Oscars and how often do people adapting their own work get nominated for Oscars? But, like, if I can find any logic, however wrongheaded, about her not getting this nomination for adapting her own book, is that it's like, well, she adapted her own book. How difficult is that? And then people are like, yeah, but Gone Girl is trash. Whereas, like, the movie is this kind of fulcrum of storytelling. It just launches. There is absolutely no, it is nothing but meat on this bone.

it is, I think the book is structured in a way that makes it work as a book and then the way that she adapts it into a movie streamlines that story in a way to make it work for a movie but, you know, accentuates all of the story beats that are supposed to happen and find flow to it. There's so many peaks in this story

that, you know, structuring it into one streamlined story is more difficult than it seems like because how do you just do peaks on peaks on peaks on peaks? Right. You know, so it's like you have to find those valleys, those character details throughout. Yeah. Gone girls. Gone girl, catch me on the right day.

It is my favorite fincher movie. It is, and, listen, Anne Hathaway is right. It is the greatest romantic comedy of our time, full stop. Our finest film critic Ann Hathaway, yes, absolutely. Yeah, I love Gone Girl so much. this it was fully shocking and you know because it only gets the nomination for Rosman Pike

they Gillian Flynn and David Fidcher release some press relief that is definitely fake that they announce some project that they're going to do together basically about award season basically saying we don't care this is all stupid

and we're fine not getting nominated is the implication that I took behind that but you know so they're not hurting Gillian Flynn has still sold millions and millions and millions of books. Yeah. Yeah. Good for her. But yeah, the nominees that year, the imitation game wins, American Sniper, Inherent Vice, The Theory of Everything, and Whiplash are all of the other nominees. Whiplash being a somewhat contentious screenplay nominee because at the very last minute, I think, like, right up until I forget how much this bled into the actual voting.

period. That it was based on its own short film, right? Yes, and there was, I think some awards bodies had considered it original, some did not, and then I think there might have been some small degree of arbitration to require where it would be eligible in the Oscars, and at that point, it seemed like it would be a nominee either way, regardless of what category they would put it in, but just an interesting forgotten tidbit about that movie. I mean, my boot is maybe surprising for some. No question American sniper, that awful Islamophobic movie that talks out of both sides of its mouth.

I kind of expected you to Nicole Page Brooks this whole category. No, because, I mean, inherent vice, while I am not always on its wavelength, I can respect it for what it is and there are things I like about it. Whiplash, I am not a Whiplash dissenter. I think Whiplash is a good movie. Okay. Okay.

Theory of everything is boring, but not, you know, an instrument of hate. No, sure. I get why you're booting American sniper. I'm just saying, we're at me. I think I probably... I mean, I hate American sniper. It talks out of both sides of its mouth in, you know, trying to develop empathy for veterans, but also being, like, ooh, raw at the same time.

Sure. And the imitation game, I think it's fine. Fine. Like, the campaign around that movie was far more annoying than anything in the movie. Do I think it should be winning Oscars? No. Sure. Yeah. I think it's fine. Yeah. All right. Home stretch. Let's do this. Let's do it. Since you never got around to it in high school, I was wondering if you could sign my yearbook. And, uh, please don't tell me to fuck off because it really hurts my feelings. I hurt your feelings. Yeah, all the time. Tremendous. That's tremendous.

Go get your stupid yearbook. I would be happy to sign it. Okay, great. My next choice, I've talked a lot about wanting to supplement the acting categories with comedy performances. They are quite a few of my snub choices among the actors. This one is no different. This was actually a pretty year that famously did include a comedy performance, but I say why not have two? I'm talking about the 1997 Best Supporting Actress Category.

My nominee is Janine Garofalo for Romney and Michelle's High School Reunion. Hear me out. Ultimately, with Romeo and Michelle's High School Reunion, the performances that highlight it are obviously Lisa Kudrow and Miris Sorvino. Choosing which one of them to add to Best Actress was a task that I did not want to bring upon myself. Ultimately, probably I go with Mira slightly over Lisa, but, like, who wants to have to split that hair? And ultimately, this is maybe the fan coming out.

I love Janine Garofalo so much. I love her persona. I love her comedy, her method of delivery. There are two, I think, great iconic Janine Garofalo screen performances. One is Reality Bites. The other one is this. She plays Heather Mooney, the... embittered former classmate of Romy and Michelle, who actually is the one who informs Romy of

the class reunion at this tremendous scene at the DMV where she could not be more hostile. She does explain that she is the woman who invented the quick burning cigarettes. And then the cut to what does she say? Like twice the flavor and half the time for the girl on the go or something like that. All this stuff is like, I would love to know how much of Janine Garofalo's delivery in this movie is on the page versus something that she's sort of like, because it all sounds like she's, like, it could be stuff from her stand-up, right? Like, in terms of, like, delivery, it all feels like it's just rattling off the dome. And it's, she's so fucking funny. The scene at the end where.

I don't think it's a grumpy cat, basically. How, like, I don't think it's an easy task to make Heather Mooney as lovable as Heather Mooney is. She's so lovable. Heather Mooney is, like, the quintessential, like, high school girl who thinks that just because she's not a popular mean girl, means that she's not a mean girl. No, Heather Mooney is as fucking mean, if not meaner than all of those girls. Well, that's the best scene for her in the movie, though, is they're at the reunion. She's so mean to Cameron Mannheim. She calls her Toby dumb fuck at one point, which makes me laugh so much.

And then, but then Cameron Mannheim in this movie is so good. But then Cameron Mannheim is like, can you sign my earbook and can you please not tell me to fuck off because it really hurts my feelings? It always hurt my feelings. And Janine Garofo at this point, and Heather is so, because she doesn't think like anybody cared enough about her to feel wounded by her in high school, right? And so she's so happy to find out that she had this effect on somebody in high school. She just goes, tremendous. Absolutely. I will sign your stupid fucking yearbook.

It's so good. I just love her so much. She's so funny. It's a very small performance. She only has maybe like four scenes in this. Plus, I guess, her flashbacks. She's in the movie less than you remember. Less than you remember, right?

She's gone for that whole, I mean, the pacing of Romeo and Michelle, a movie that I love. The pacing of that movie is bizarre. That flashback in the middle of the movie goes on so long and, like, way longer than you remember. But anyway, it's a wonderful movie. And, you know, Garoflo is always going to be one of my, you know, 90. icons, and this performance in particular, people don't quite realize just how funny she is. And, like, Joan Cusack. Yeah.

John Cusack is nominated for In and Out this year in 97, and everybody made such a big deal. Oh, my God, comedy. Comedy's finally being nominated. It's like, yeah, we can have more than one. Like, it doesn't just have to be one nominee from a broad comedy. So anyway, Cusack's nominated. Basinger, Kim Basinger is nominated in Wins for L.A. Confidential. A Mini Driver for Goodwill Hunting, Julianne Moore for Boogie Nights, and then Gloria Stewart for Titanic.

I don't want to draw this out. I don't want to be mean. House down, boot. Oh, that's interesting. I didn't even really consider that. I, too, I don't, I don't think Basinger should have won, but I don't think Gloria Stewart should have been nominated. And I love so much about Titanic.

I am a full Titanic stand. but in terms of supporting actress should have been nominated just for giving us that it's been 84 years Jeff she's like the third best supporting actress in that movie like I think Francis Fisher is better than she is I think Kathy Bates is better than she is

I understand why she was nominated it's a great story she's a lovable old lady she had been around forever she is the featured part of that frame story I think I think bass singer is probably good enough to be nominated, but not to win. And, yeah, I'm getting rid of...

Did we do it? How do you not? I'm not swayed. I'm not swayed by your A-plus impersonation of Gloria Stewart in Titanic. She is the Latoya Jackson to your knee-ne-ne-leaks. You are just looking at her and saying, you are an old lady. And you are saying, boot, that nice old lady. I am.

I'm saying, drop that gem in the ocean. and drop yourself in the ocean right after that. No, I do get mad at her for dropping the gem in the ocean. Cary's Gather, Joe Reed. Do not let him get away with this. Poor Susie Amos didn't even realize the inheritance she had coming her way in that movie. Yeah, Susie Amos should be, her character should be pissed in that movie. Like, yeah, I'm saying, like, you should dump that old bag into the ocean right after that.

Jesus. I'm saying. Well, I mean, they kind of have money. Didn't Rose end up falling into, like, horse money or something? She had horse money. She, uh, iconic, uh, horse heiress, uh, Rose do it, Calvert, yes. Um, anyway, uh, yeah, I'm booed and Gloria Stewart. I'm so sorry.

All right. What do you have next? You should be ashamed. Outer, in gravity, space. I need to breathe, don't need to be a space. Are you reading me loud and clear roll, please, Mr. Kennedy. Uh-oh. All right, so this hot air balloon is taking us up, up through the tropopause.

We're passing, we're passing all of the spirits who are gathering hands and repairing the tropopause. Oh, God. We're going past them. We're going, where are we going? Outer space. I was like, where are you going with this? Okay, I get it now. All right. Fantastic. Best Original song, 2013, from the motion picture inside Lewin Davis.

I'm talking about, please, Mr. Kennedy. Now, if any garries want to get particular about this, I do think that there was some type of, like, well, it was inspired, it's so clearly inspired by these weird bullshit, like, socially motivated, uh, uh, uh, folk songs from the 60s that were like goofy and kind of terrible but like we're for a good cause, etc. So it's kind of loosely based off of some of those and it might have been deemed ineligible.

We don't care about ineligibility. Shouldn't come what may be eligible for Moulin Rouge? I rest my case. What a fucking funny song. I just think we were robbed.

of seeing this movie seeing this song performed live on the Oscars and we should be outraged by that every single day of our lives Oscar Isaac Justin Timberlake and a very large cowboy had it Adam Driver Adam Driver is a huge man

He really is a huge man And that hat on him is so huge A family of four could live in that hat It's speaking of Cameron Mannheim It's Cameron Mannheim's Sheriff Hat when she's in Scary Movie 3 playing Cherry Jones from Sines where every time they cut to her, the hat is bigger, yeah. Inside Lewin Davis, a movie that luckily got, I think, it got a sound nomination and a cinematography nomination, should have also gotten Oscar Isaac a nomination.

I love that movie, but that song is just this weird, not even midpoint of the movie, but, you know, it's such a, like, dour, somewhat misanthropic movie, because it's the Cowens, of course it is. And then you have this absolute bizarre number that, you know, really embodies a segment of the music scene. It's talking about that, you know, we really don't discuss, you know, the type of music you hear Lou and Davis doing and the rest of the movie is what's talked about. And, of course, it's like, it's, he passes the judgment on it that maybe we as the audience, it's like, it's a piece of shit, whatever, just give me quick money. And then it becomes a hit. And he could have, you know, lived off of that stupid song.

Right, right. So it's got a really ironic narrative purpose to it. This is also a very interesting original song here. Let It Go Wins. For Adela Zame. Happy from Despicable Me Too, everybody's dancing with those minions on the Oscar ceremony. Uh, the moon song from her. We love Karen O.

Um, uh, ordinary love from Mandela Long Walk to Freedom, one of the random Bono nominations. Right. And then notoriously, historically, famously, alone yet not alone, from alone yet not alone,

which I realize I typed alone yet not a loan as an angloan in our outline because I was typing too fast. the joke tells itself. I've been laughing at it for like the last five minutes and knowing that like... And I just now saw it. It's so funny. This is what happens when I type fast. Gets disqualified because of shady behind the scenes nominating practices from the songwriter

who was like the head of the songwriting branch. So technically, Chris, you don't have to boot any of these if you don't want to. There is a open slot here. that you could just... I'm saying. Yeah. You have a disqualified nominee, and I understand why you wouldn't just replace it with whatever got sixth place,

but maybe the Oscars kind of should. But, yeah, obviously it's alone yet not alone. Not just because it was a disqualified nominee, but also because have you listened to a loan yet not alone, it is a garbage. I haven't because I didn't have to because it got disqualified before I watched all the nominees. So, yes, I was fine. But, like, you know, a lot of upbeat stuff for the whole family and Obano song.

Right. Why not also put Please, Mr. Kennedy, in there? Yeah, I think that's right choice. Also, shout out to Clay Keller, who essentially demanded that we include Oscar Isaac for Inside Lewin Davis in our snubs. And I just want to say, Clay, this is our tribute to Inside Lewin Davis. So 100 is a very small number, is what I said then and what I will say now. Chris, we're in our home stretch. One more pick-a-piece.

And this is where I think we're going to get in trouble. I don't think we're going to get in trouble. I think this is a bulletproof choice. I just think there is, it comes with a little bit of a technicality

that we're going to talk about in a second. Do you think you're happy? Like, as happy as you thought you'd be when you were my age. Seriously? You don't ask people questions like that. you're my mom

especially your mom look wondering if you're happy it's a great shortcut to just being depressed we're going to go to the best actress category of 2016 a category we have discussed a lot for a good reason and we are I am

nominating Annette Benning from the Mike Mills movie 20th century women I understand that this means that because of our one per category rule, Amy Adams for arrival, a performance that I adore, and definitely was a notable snub at the Oscars that year, will not make the 100 for this list based on our ground rules. With great respect, we say to Amy,

I'm going to hold up a board with a whiteboard with the word. Snub. Yes, we snub. That's what I'm saying. It's just snub. Your snub remains Amy Adams. I'm so sorry. Arrival did get a Best Picture nomination.

So like, Arrival did. Amy Adams also has a lot of Oscar nominations. And also that. Annette Benning is my favorite performance in any category that year in 2016. Period. She plays Dorothea Fields. in 20th Century Women, a movie that is so dear to me and so wonderful and wise. It's kind of a movie about a rag-tag little family, you know what I mean?

Which I love, I adore that kind of, you know, living in this ramshackle house that Billy Crude Up is constantly making improvements on with Annette Benning and her son. and Greta Gerwig and Al Fanning is there. And she's a really, really fascinating character. I think Mike Mills writes this character very well. And Benning plays her with a sparkle in her eye, but a very sort of wise about the ways of the world kind of woman. She's a very curious person. I love her curiosity.

I love the way Benning plays it. I love the sort of faith she has in other people while still being, like I said, kind of wary about the world, that line reading where she says, you know, well, yes and no to her son. Like that really sums up her character a lot in this movie, right? Where she's sort of seeing the world on both sides of that coin and she's seeing the way it's presenting to her son and she wants to, you know, be the best example that she can be for him for. experience in the world and living a life while at the same time being a protective mother and being somebody who wants to sort of, if not shelter this kid, then at least make sure that he doesn't come to harm by doing dumb shit things like holding his breath for as long as he can't, or whatever, hyperventilating himself in the woods and passing out and all this

sort of stuff. What a great movie. Anette Benning has never won an Oscar. This should have been In a perfect world, this would have been her win, and we're all looking ahead to Nyad as, you know, who knows for the future. She was nominated at the Golden Globes, the Independent Spirit Awards, the AARP Movies for Grownups Awards, the Critics Choice, ultimately runs out of momentum by the Oscars and doesn't get nominated. Chris, without, with the caveat that this is my pick, this was also your pick. This was one that we had shared. It crossed both of our ballots. It's one of the surprisingly few that we had on both of our long lists. Yeah.

I mean, the parameters help us, you know, have some type of order to our list. Amy Adams, I still am very confident as going to. to come back with another performance on the Arrival level. I understand, you know, the feeling of Arrival is one of her greatest performances, and she's been nominated for probably multiple performances that you could not say that about. Sure. But, I mean, Annette Benning is on a whole other level from the rest of her career, even in this movie.

I think she is not as a negative, a rather mannered performance. former sometimes in a way that she usually works to her benefit in ways that have been very funny before, but like, this is such a natural performance, but natural in projecting a lot of complexity and a lot of complexity of response to how this woman is, you know, responding to both her child, a changing political environment. this performance reminds me in a lot of surprising ways sometimes a lot of ways of my grandmother in a way that I am absolutely not emotionally prepared to talk about on Mike yeah

I mean I think this is probably one of the performances of the past decade in terms of who I get rid of yeah in terms of who I get rid of this is kind of a no-brainer we don't really need to spend a ton of time on this Emma Stone wins for La La La Land Isabelle Luper is nominated for Elle

Ruth Nega for Loving Natalie Portman for Jackie and then Meryl Streep for Florence Foster Jenkins I don't hate Flo Fojo as much as other people and yet Other people who you co-host podcasts Right and yet this is easy

We can boot Merrill Streep for Florence Foster Jenkins It's by far the least of these performances She has enough nominees nominations that she doesn't need this one. She's nominated the very next year for a much better performance in the post. So we're going to boot Meryl for Annette and be a happier culture because of it.

Chris, you have one left for this segment of the list. So what do you have? Listen, Listen, my sister, I didn't want you out of the heat, all of the heat for not including a very notorious snub in favor of another performance. so I am following that up. We're talking Best Actor of 2004. I very much debated having Paul Giamatti in Sideways on this list.

The generally accepted sixth place finisher. Generally accepted sixth place, one of the shocking snubs of the past 20 years. However, I can't in good conscience not have my winner of Best Act ahead of Paul Giamatti that year. Paul Giamatti who his snub for Snideways is going to be talked about

ad fucking nauseam this year when he comes back with another Alexander Payne movie. I will be very surprised if he is not a frontrunner for that movie for this very reason. The performance I have in this best actor race though is one that we have talked about on other

podcasts. I am consistently in awe of this performance. It is Gail Garcia-Bernal in bad education. Good movie, good performance. There are so many Almodovar performers who should also be Oscar-nominated along with Benelope Cruz and Antonio Banderas for their consistent collaboration with him throughout their career. But Gaila Garcia-Bernal only really has this movie with Um, in which he is playing a wannabe, uh, actor who also performs in drag. He goes in and out of a story that might be a screenplay. It might be his real life, but he has to pull a con both on ultimately the protagonist and the audience. Um, in this way that obviously has to be very alluring, draw you in, draw you into the lie, draw you into the storytelling of it.

On top of being this incredibly captivating screen performance, we talked about on our screen drafts on drag movies, that in drag, he looks like Julia Roberts. Did you see Cassandro, the Sundance movie with him? I did, yes. I skipped it because I knew it was Amazon, and I figured it would. be accessible soon, but they haven't released it yet. He's supposed to be tremendous. He's very good. Yeah. If it takes him anywhere towards Oscar, I will be very happy. I think he is someone that absolutely we need to be talking about in overdue terms as an actor. But this performance

is among my favorite Amadovar performances. And I thought about putting other of his performers is like Cecilia Roth for all about my mother on this list. This is the one that shined brightest to me to be worthy of mention. He's great in this movie. I love this movie. Yeah, no complaints. I think

you know, Giamati, yes, the widely regarded sixth place snub, but I think I like that this is your pick, so. And if we're going to do a list like this, we're also going to make it a little personal. Yeah, we are. All right.

As we were talking earlier, this is the year that Jamie Fox wins for Ray. The other nominees are Don Cheadle in Hotel Rwanda, Johnny Depp in Finding Neverland, Leonardo DiCaprio in The Aviator, and Clint Eastwood in Million Dollar Debe. Yes. This is obvious. It's Johnny Depp getting the boot for Finding Neverland. What the fuck is Finding Neverland doing in all of these Oscar nominations for this kind of soggy, not all that much to write home about movie?

I think especially that is true of his performance, which is we on this podcast have done a lot to say that the Afterglow nomination for Charlie's therein in North Country is like quintessential. Even though he doesn't win for Pirates of the Caribbean, this is just 100% an Afterglow nomination. Johnny Depp's performance in Pirates of the Caribbean earned multiple nominations for Finding Neverland.

Finding Neverland gets nothing if Johnny Depp is not a nominee for Pirates of the Caribbean. like it really is striking the the size of the halo that that persisted for that next year yeah yeah yeah I agree with you get rid of it okay Chris that is our list for part three of 100 years and 100 snubs we are past we have proven so much weather patterns today we have we have changed science yeah yeah science will never be the same weather yeah all right i'm going to round up very quickly our list of this next 20 to sum up part three and then we will turn the corner into part four next week but for this week uh 100 years 100 snubs part three we have

honored j smith cameron and margaret best supporting actress of 2011 lily gladstone certain women best supporting actress 2016 georgio moroder and klaus doldinger for the never-ending story Best Original Score, 1984. Malcolm X, Best Picture of 1992. The World is Not Enough, from The World is Not Enough, Best Original Song, 1999. Isabelle Lu Per, the piano teacher, Best Actress, 2002.

Lashana Lynch, best supporting actress, The Woman King, 2002, from our guest, Tara Ariano. Jude Law, best supporting actor, Iheart Huckabees, 2004. Carol, Best Picture, 2015. Jane Campion, Bright Star, Best Director, 2009.

Arthur Max, 7, Best Art Direction, 1995. Jill Billcock, William Shakespeare's Romeo plus Juliet, Best Film Editing, 1996. John Cazell, The Godfather, Part 2, Best Supporting Actor, 1974. Mike Giollakis, It Follows, Best Cinematography, 2015. Marilyn Monroe, Gentleman, Befer Blondes, Best Actress, 19. Best Actress, 1953. Joan Crawford, whatever happened to Baby Jane, Best Actress, 1962, Courtesy of Jorge Molina.

Witt Stillman, The Last Days of Disco, Best Original Screenplay, 1998. Gillian Flynn, Gone Girl, Best Adapted Screenplay, 2014. Janine Garofalo, Romney and Michelle's High School Reunion, Best Supporting Actress, 1997. Please, Mr. Kennedy, Inside Lewin Davis, Best Original Song, 2013. Annette Benning, 20th Century Women, Best Actress, 2016. and Gail Garcia Bernal, Bad Education, Best Actor, 2004. 22's a lot of things to read all at once.

A tremendous, tremendous installment of this list. If I do say so myself, Chris. All bangers. All bangers. No filler. Justice for Gloria Stewart. Yeah, yeah, yeah, whatever. All right.

I think that's our episode. If you want more ThisHad Oscar Buzz, you can check us out on Tumblr at ThisHadoscurbuzz.com. You should also follow us on Twitter at Had underscore Oscar underscore Buzz. And on Instagram at This Had Oscar Buzz, Joe, tell the listeners where they can find you. Twitter and Letterboxed at Joe Reed, read spelled R-E-I-D. And I am also on Twitter and Letterbox at Krispy File. That's F-E-I-L. We would like to thank Kyle Cummings for his fantastic artwork and Dave Gonzalez and Gavin Miebis for their technical guidance.

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Snubs. Thank you.