This Had Oscar Buzz - 153 – A Thousand Acres

Episode Date: July 12, 2021

It’s time for yet another long-promised episode in This Had Oscar Buzz lore, and also from a Pulitzer Prize winner! Adapted from Jane Smiley’s novel (which itself was loosely based on Shakespeare���s King Lear), A Thousand Acres cast two-time Oscar winner Jason Robards as one town’s beloved titan farmer and a trio of dynamo actresses … Continue reading "153 – A Thousand Acres"

Uh-oh, wrong house. No, the right house. No, I didn't get that! We want to talk to Marilyn Hacks. I'm from Canada. I'm from Canada water. and he's suffering. People are getting suspicions.

Wondering how you and Rose got Larry to give you the place from the whole thing's obviously driving him crazy. Well, I got their number. Bitch, that's what you are? I'll give you everything I've got. And what do I get in return?

We didn't ask for what you gave us. From the Pulitzer Prize winning novel. Tell me what you really think about, Daddy. He's a bear. He's not a bear. He's not innocent like that. I know what Rose says, Jimmy. About your dad? Oh, he's respect.

And people say what bitches we are. Do a man off his own farm on a night. You wouldn't keep a wolf on you. Think you can treat me like this? You think this is bad, Daddy. You'd be amazed at what you really deserve. Polygram filmed entertainment proudly... Hello and welcome to the This Had Oscar Buzz podcast,

the only podcast that has entered into a very sophisticated arrangement with Kevin Klein. Every week on This Had Oscar Buzz, we'll be talking 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. I'm your host, Joe Reed. I'm here, as always, with my litigious sibling, Chris Fyle. Hello, Chris.

Very litigious. Very litigious. I'm famously litigious. I've sued many people. I knew that about you. I somehow knew that about you. Yeah. I won't cross you.

We're doing another kind of long-awaited movie. I feel like after the shipping news, perhaps you didn't think there were any other long-awaited long-teased sort of this had Oscar Buzz movies coming your way. But ha-ha, we have fooled you once again. I've wanted to do this one for a while. I had never seen it. I wanted an excuse to see it.

It was kind of, it sort of looms large in my memory as an Oscar-Buzzy title that really flopped from when I was first sort of becoming aware of Oscar Buzz as an entity. So this was a big one. We'd kind of turned it into a bit of we were going to, that not in the way that, like, I'd wanted to with the shipping news, where it's like, we may never do that.

But, like, this is one we've been talking about doing from the very beginning. And now that we've done it, I realized I didn't know what it was about about. I knew it was loosely based off of King Lear. I obviously knew the actresses involved. But I didn't realize that. this is, uh, and like, you watch the trailer and you would never know. You just think that Jason Robards is going to be like a barking bastard, right? But they do make some, there's some sort of hint where in the trailer you get the Pfeiffer line where she says, where Jessica Lang's like,

oh, he's always been a bear. And Pfeiffer just says, don't, don't call him that. He's not as innocent as that. And like, so there are definitely things. The thing I remember from following sort of the promo cycle of this movie, and again, had never seen it, my assumption, I guess, was that it was the Jennifer Jason Lee character who was going to be the troubled one who was going to bring accusations against the father. And for whatever reason in my mind, I think I got this movie mixed up with her Dolores Claiborne character. And so that was in my mind. So the fact that it's exactly the opposite. this. And it's interesting because, and I've never read King Lear, my only familiarity with it is that very recent movie that was made with Emma Thompson and Anthony Hopkins and Florence Pew from like a few years ago. So I saw that, but I'm not like this like Shakespeare scholar or anything like that. But my familiarity with Lear, I knew that the Cordelia character was kind of the most prominent of the three sisters in that.

So I sort of assumed that the Jennifer Jason Lee character was going to be kind of a linchpin in this movie. And she's by far the least important character of the three sisters. She's kind of really peripheral to a lot of this stuff. She's gone for like the middle chunk of the movie. And then in the final like third of it when it becomes vaguely a courtroom drama for a little bit. Very little bit. She has this kind of complete about.

face that I think is one of the movie's problems. Yes. Because I don't understand why and I don't understand her in turn. And you wonder whether there was stuff cut out of the novel. This is based on a Pulitzer Prize winning novel by Jane Smiley, which I remember being like, like, I remember hearing about that book when I was younger. It was probably because when I was working at the public library. But it's, yeah, I think that is definitely a. weakness, and I don't know whether it's a weakness of adaptation or whether that also, you know,

existed in the book. I think my main takeaway from a thousand acres, and we'll definitely get into it, is I respect the angle that it takes on this, if it is going to be like, if we're going to do a take on King Lear, our take is going to be, wow, the way we villainize Reagan and gonerol from the Lear story as being the sort of like the manipulative daughters and you know, Fifeer even has that line and that's in the trailer. And it's interesting that it's in a trailer from 1997 where she says that we're the bitches. You know what I mean? The whole town thinks of us as bitches who, you know, betrayed our father and whatever. And it's almost like an alternate, you know, reading of the text where it's just like, what if these two sisters

had their reasons? What if there was more going on than you knew? What if we didn't automatically decide to lionize the patriarch and this whole kind of thing? And obviously Lear is more complicated than that. But it's an interesting angle that I wish had been done better and I wish had been received at a time when it was more ready to receive it. Because the other thing, I don't think this movie deserves to, you know, be hailed as anything great. But if you read the reviews at the time, and we'll definitely get into that. I don't understand it. I don't understand the outright lashing. There was vitriol for this movie. Like, there was some real, real anger about how, you know, the soapiness of the tropes.

And I get that, like, the movie doesn't handle these sort of, you know, left turns into revelations of sexual abuse and physical abuse and things like that. particularly gracefully, but there was a lot of outrage, I think, in a lot of these reviews, that that was the plot at all, right? That it was, these were, you know, it was soap opera tactics, and it was melodrama, and it was, and again, we've talked about this time and again, the way that movies would get kind of lambasted for being, you know, stuff for women without, like, tell me, tell me your sexist without telling me you're sexist. Well, I'm going to bash this movie for being soapy or melodramatic.

But it's not just, I mean, like, reading some of these reviews, it's not just from male critics. No, it's not. Like, Janet Maslin thrashing this movie. Right. Not to, like, say that all female critics have to, like, uphold movies that are made for women, you know, not to, like... Right. Not to get too far into the weeds of the nuance of it. But, like, I do think that while this is an imperfect movie, I do think, like, it was the vitriol.

for it is unfair. Right. And we'll like, we'll definitely, we'll set the table for that and all that. But I just sort of wanted to like, you know, up front, you know, that's, that's sort of how I feel about going into this movie. The other side of it, though, is for folks of our persuasion, uh, a movie like this is kind of irresistible, right? We're like, uh... To the point where even the teenage girls are played by Michelle Williams and Elizabeth Moss. Like, fuck. Fucking wild. Absolutely. And, like, Michelle Williams just pre Dawson's Creek. And Elizabeth Moss, several years before, I think of the earliest I had ever seen her in anything was Girl Interrupted, which was two years after this movie. So, like, this is definitely my, like, earliest. Young enough to not be fully recognizable. Oh, I mean, I would recognize her anywhere. But, like, I get it. Like, it took me, like, but these daughters are really, and again, a weakness of the movie, I think. I think the movie is stronger. if it sort of establishes their relationship with their mother early on and their relationship with Jessica Lange's character, their aunt early on. But anyway, these girls are in scenes, and you don't really ever really think to look at their faces because they're sort of, you know, very, very, very incidental to what's going on. And it's like several scenes before all of a sudden you take a look at them.

You're just like, oh, shit, it's Michelle Williams and Elizabeth Moss. But yeah, the actressiness of this movie is obviously its main appeal for me. The idea of seeing Michelle Fyfer, Jessica Lang, Jennifer Jason Lee playing sisters. This is the second project this summer where I have been let down by a movie where Jennifer Jason Lee is part of the trio of fantabulous acting sisters because I've bitched already about Lise's story being like her and Julian Moore and Joan Allen playing sisters. And it's so bad. and I'm so fucking furious, that it's like this waste of, you know, three great actresses playing sisters.

That's all I ever want. I'm like, Faggy Chekhov, where it's just like, give me, you know, give me three actresses playing sisters, and that's all I want. But who among us? And so I think, you know, it's a similar thing here. And, of course, like the Oscar pedigree on these women, which we'll definitely get into, two-time winner Jessica Lang, multiple nominate nominee, Michelle Pfeiffer. Jennifer Jason Lee, who by this point in her career, had not been Oscar nominated, and that was kind of a thing of itself, was after like...

Because this is after Mrs. Parker in the vicious circle, which I want to do eventually. And after Georgia, because people sort of forget, because Mayor Winningham got that nomination for Georgia, but that was one of those things where, like, Jennifer Jason Lee had buzzed throughout that season, and they ended up... And the narrative a little bit, not to slight Mayor Winningham at all, But the narrative a little bit was like that the Oscars went for the safer character, the sort of like the kinder sort of softer character, which that is a narrative I don't always super trust because the flip side of that is sometimes the Oscars go for the louder performance and we don't really like exactly.

And like Jennifer Jason Lee definitely was giving the louder performance in that movie. So just because it's the same movie doesn't mean you're talking about the same acting. races. So it's like you have completely different levels of competition. And 1995 best actress was very, very, very competitive. I think we've talked about that before. But yeah. But yeah, so she's coming off of a few years of just like Jennifer Jason Lee, you know, giving the best performance that wasn't nominated for Oscar this year for like a few years. And so that was going into it. And then add to that two-time Oscar winner Jason Robards in this very sort of old lion role, which can be catnip for Oscar voters at times.

They originally wanted to cast Paul Newman in this role, which would have been a very similar vibe in terms of, you know, this like acting legend coming in to play this sort of old, you know, character who's sort of revealed as monstrous. And I say revealed in this film, it is not incredibly subtle what Jason Robarts does. With this character, he sort of like hits the ground running as soon as the, the requires them to, you know, take the mask off, and all of a sudden then he's this just, like, raging beast. It's a real interesting cast. Colin Firth is in this film, playing very much not British, and...

Colin Firth, his version of an American dialect is to drop his voice by an octave. Colin Firth, unfortunately, at this point, at least in his career, goes into the column with my beloved James McAvoy, which is he's sort of Samson with the dialogue or the accent, his own native accent being his, his, you know, beautiful hair that gives him strength. You know what I mean? Where it's just like you get rid of that accent, and it's just like you rob him of so much of his natural charisma. And I feel that way about James McAvoy, too. He is very sexy in this movie, though. He is, but just like, I feel like that character is around a lot, and you know what he needs to be there for.

for the plot. But I'm very often just being like, what are you doing? What are you doing in Harry Collins? Yeah, as it needs to wrap up on that character, the movie's like out of ideas. Yeah, forget about it. It doesn't really know how to finally, how we're supposed to finally feel about that character.

This is also our second Jocelyn Morehouse movie. I was going to say it's not just an actressy thing. This is like kind of a little bit of a patron saint director for our podcast. Yeah. Director of How to Make an American Quilt, which was another film, which was like actress Bonanza, also actresses playing

siblings, because it was Ellen Burstyn and Anne Bancroft playing siblings in that film. Oscar winner is playing siblings. I always tend to talk about Michelle Pfeiffer as an Oscar winner, and I always have to remind myself that, no, she's never actually won, because she does, does have that status for me in my mind. But obviously, Winona Ryder was in How to Make an American Quilt, Claire Daines, Kate Nelligan. It was just like tons and tons and tons of great actresses in that movie as well. I think I liked that movie. I think that movie works better than a thousand acres does, but I think a thousand acres swings for bigger and I want to give it that credit for doing it. But then the miss is sort of you feel it more. I don't know. Well, how to make an American quilt, even though it's all of these multiple different stories, it has such a clear, framework for it, whereas, like, this movie does have a lot of story, how you can imagine it being a great book. And, again, to say the basic thing, it would make an excellent limited series. I do feel like after watching this movie that I feel like I would really, really enjoy the book.

The best parts of the movie are also some of the most frustrating parts, which is that, like, why am I loving this narration, this, like, long, long, long, reaps of, like, Jessica. Well, but like, I think the pros, listening to that, I'm like, I would like to experience this in the form of a book. You know what I mean? I kind of wish I was reading it read by Jessica Lang. Yeah, yeah. But there's so much story that it feels like, in some of the reviews, like I think it was even Roger Eberts or something saying that the movie was so, so long. Or it felt so long.

I'm like, no, it feels like it's flying through stuff that you really should take. take time to kind of sit with in some ways, even to the point where it's like the proposal for the daughters to take over the farm. I had to go back and watch that scene because I wasn't quite sure what happened. Well, that scene, the scene where he first offers the idea of the corporation, right? And Jennifer Jason Lee's character is like, I don't know, and then he like, sends her away. And that scene only really works if you, you almost have to be like, have somebody there whispering in your ear like, it's King Lear. Like, it only really works if you're like very familiar with the fact that, of what King Lear is and what, and that the fact that this is a

sort of a, you know, a commentary or something loosely based on King Lear. Because like, otherwise, it just seems very abrupt and sort of nonsensical that this like, slugly moment of like, well, I'll have to think about it. And he's like, go away forever. And it's, you know, this sort of like sharp left turn into Shakespearean dramatics. But again, it like, it only makes sense if you're just like, right, this is what happens in King Lear where Cordelia like, you know, isn't as effusive as the other two sisters and he resents her for it and whatever. And it doesn't play, you're right, it needs a lot more room to breathe in the movie. for it to have any kind of an impact at all instead of just sort of confusion on the part of the viewer. Mm-hmm. So.

And it's just like we hear a lot about how the two sisters are ostracized for what the town thinks of them. What the town thinks of them. You don't really see it that much. You get like one scene with John Carroll Lynch being like,

I don't think you did right by your dad. Right. And you don't get a sense of the town in this movie. This does not feel like it's a movie that creates that successful sense of a place, which is... I do think it successfully establishes it as a town not just run by men, but like a town where these men are seen as these like unimpeachable titans who everyone loves, and that is what the culture is of this town. I think it does that well. But I don't think it establishes the town as it relates to the daughters. Right.

Like, I don't see, I don't see where Jessica Lang fits into this town. I don't see where Michelle Pfeiffer's character fits into this town. Is Jennifer Jason Lee's character seen as kind of a black sheep because she leaves for Des Moines and, like, goes and, like, sort of, like, spurns the town? And then she comes back and she defends the father. Is she, like, you know, what is, you see, you get a little bit of the fact of this idea that, like, Colin Firth was kind of forced away by his father. but it's all very vague and it's all very much like oh I bet I would get more out of this

if I was reading the novel and you don't get a sense or a degree to which it's confusing how much the revelation of the sexual abuse that the daughters

experienced at the hands of their father how disgust that is you know how if it's just between these two sisters discussing it like how out in the open were like is that part of why people were shunned because why people were shunning them because you know people didn't want to believe that or like they thought that it was this horrible lie or is it all just this business thing that people are assuming we don't even know if caroline knows that right this has been revealed

right um we'd never know we get so little of her perspective almost everything we see of her is seen through the eyes of jinny the the jessica lane character or almost like we see her in you know across a room or something like that and and even if the answer is she doesn't know about that if that is what is true in the text then i feel like we should have that clearly Have that as a perspective, yeah, yeah, definitely. Yeah, just because that, to me, actively contributed to Caroline being a frustrating character in the final third of the movie. 100%. And she's a character who, you know, she gets shunned by her father, and then she ends up, like, essentially betraying her sisters. And again, in Lear, Cordelia is the one who is, Cordelia is shunned and then is kind of aggressed against for most of that movie. So when Cordelia finally makes a move against the sisters, it's seen as more triumphant because she's been kind of done wrong by them. And that's not the case here. They make changes, you know, the changes that are made to the story in a thousand acres make that turn kind of a betrayal of her sisters, who we find, we learn in the movie, like, raised her from when their mother had died at an early age.

And so you don't feel that. You get that as sort of, you know, you understand that that's what's happening because you're following the story. But there's no reckoning for that as the story goes along. There's no, you don't get a wrap-up scene with her with either one of the two sisters. Like there's so much of this movie, you talk about like telling and not showing. That scene where Keith Carradine shows up again in Minneapolis after Ginny has left town and is like, Rose has been telling everybody in town about what your father's done. Nobody believes it.

She's, you know, seen as a monster, everything like that. And it's just like, cool, would have been nice to see it. Like, I don't understand why I'm hearing about this third hand from Keith Carradine in a diner. You know what I mean? In a Denny's, thank you. Oh, was it specifically a Denny's? I couldn't tell whether it was just like knock off Denny's or like... Okay, the waitress that answers the phone and says, hi, this is Denny's.

Oh, she does. It's kind of a weird dialect where I'm. I'm like, did she just say dannies? For legal reasons, we have to say dannies. Anyway, I keep Carradine asks what he should order, and I was like, a grand slam. Yeah, get the moons over my hammy, my friend. Like, come on. Okay.

But also, the other thing about Caroline, and then maybe we should move on to the plot description, because we're, like, getting into it as we're prone to do. The first portion of the movie hinges on her character, much in like it presents her almost as a mystery to the audience and like she it turns out she gets married and doesn't tell anyone and it's like so much of like everyone's concern and like uh focus is around her that like there's no way of literally be anyone in the final third of the movie it feels like kind of like uh you know You know, they showed us a gun in the beginning of the movie that never gets fired.

Speaking of Faggy Chekhov, yes. Yeah, no, the expectation is that we're going to get this payoff for this, you know, sort of arm's length relationship that she has to the family. And we don't. And I don't mean that we need a revelation. I really, I don't think the movie needs to be like Caroline was being abused too or anything like that. But just like, just have her have some kind of emotional reckoning with these women who raised her who she then, like, took to court to take their farm away. Like, you know, those are some big things to happen. Or just have the two Carolines connected in some way.

Yes. Like, you almost can't even feel the betrayal of it because it doesn't feel like, it feels like her as a character has just been kind of cast aside. Yes. On the page. Yeah. Agreed. All right. Before we get any further into it, you're right. We tend to creep into plot in this. And this is a movie that I don't think a lot of our listeners will have seen. So I want to sort of... It's not super available. We had to buy a DVD to watch it. Yes, I had to go on to Amazon Marketplace and buy a DVD. I'm glad I own it now, though. It's a little... And again, I will zealously guard my physical media now.

because I don't trust shit. But, yeah, I want to sort of, like, talk about the mechanics of the movie, maybe a little bit more than we normally would, because I don't think this is a film that too many people have seen. But I have one minute on the clock for you, Chris, if you want to crack your knuckles and prepare for a 60-second plot description. I'll crack my knuckles, crack my back, crack my knees. Crack your neck, crack your back, crack your...

Don't you, don't stop right there. A Thousand Acres is the film we're talking about, directed by our good friend, Jocelyn Morehouse, written by Laura Jones, based on the novel of the same name by Jane Smiley, which did win the Pulitzer Prize. That novel, in turn, was loosely based on Shakespeare's King Lear. It stars Jessica Lang, Michelle Pfeiffer, Jason Robarts, Jennifer Jason Lee, Colin Firth, Keith Carradine, Kevin Anderson, John Carroll Lynch, good pal of our show. Pat Hingle, Michelle Williams, Elizabeth Moss, it premiered on September 19th, 1997, just before Titanic would steamship its way through that award season. Chris, as I said, I have a minute on the clock for a 60-second plot description from you, if you're ready. Yeah, yeah. All right, and go.

All right, so we are on the Cook family farm. It is led by Larry Cook, played by Jason Robards. He has had this farm for three generations. It is a thousand acres of the title. He has his three daughters. There is the like very sweet and childless Ginny, played by Jessica Lang. There's Rose who has suffered from breast cancer but does have children, played by Michelle Pfeiffer. And then there's Caroline who's kind of not a black sheep of the family, but she's the only one who's left.

She went to do law school in Des Moines and she still lives there. She comes back. Larry Cook says, hey, what if we incorporate and you all have equal control of the farm? Older two daughters say, hey, that's great. The youngest daughter says, I don't know about that. this. And then that kind of creates a rift. And meanwhile, while he has less control of the farm, he starts having dementia and then has a huge fight with them where like things seem to get heated really quickly. And then he cast them out. And then the girls are cast out. Turns out that

he had been sexually assaulting them in their childhood. And then he, uh, they get to keep control of the farm. And that's time. Here's the thing. Where I ended the plot description feels like the end of the movie and then it has this very long epilogue and that's when the movie really kind of lost me because it fully becomes like Jenny's story Ginny leaves her husband, leaves the farm, leaves her sister

and she goes to some other town starts working in a Denny's hears second hand that her, does her father die before she leaves? No. No. Her father dies in the narration as she's driving away. Oh, yes, yes.

And they get, they're both blamed in the town for like ruining this great man and his legacy of the farm, whatever. But Ginny eventually comes back because Rose had her cancer returns

and Rose is going to die and then she's going to raise her two daughters. Never hear from Caroline during this. Nope, not once. That whole portion of the movie feels, I think, tonally misguided because you get this kind of deathbed speech from Rose, which is like way more chill and low-key than you would expect it to be. Yeah. But she, Rose is such an interesting character to me. You almost wish that Rose.

I want so much more of Rose in this movie. I know. Because her perspective is partly why I think people would probably be kinder to this movie today than they were then, which isn't to say we didn't have like women's stories or stories of horrible things that happened to women back then. But like now it feels like we're having a real reckoning with that. And we have. I think it resonates better today. I think the idea of this woman who, like, there are multiple points in this movie where she talks about holding on to her anger as her. as her, as something that she's owed, which is a really interesting thing. She talks about several times about, you know, that not forgiving her father is sort of a thing that she can do, is she can't do much about what's happened to her. She's got, you know, she's been sexually abused as a child, she's had cancer, and she's, you know, maybe going to lose it all, but she at least didn't forgive the unforgivable.

And that's a really interesting perspective. She has this one line in that last scene with her and Lang when she's in the hospital. And she says, we're not going to be sad. We're going to be angry till we die. That's the line I was going to bring up. And when she said that, I was like, that is what the tone of the movie should be. Or at least the tone of this final portion of the movie, which, like, feels like it's the opposite of what Rose is saying. And that's when it becomes more of the kind of, like, mopey melodrama that, if not, like, as vich.

triolic as a lot of the critics were about it is like closer to that whereas the rest of the movie I don't think is this kind of maudlin thing. If the movie is more equally distributed between Ginny and Rose or even more about Rose than it is about Ginny, it's a stronger movie. If it really lets Pfeiffer dig in. The problem I think with Pfeiffer's performance in this movie is she has to sort of burn brightly in a few moments but doesn't really get a lot of to build around those moments. Do you know what I mean? Yeah, she has to monologue a lot.

She has the big angry outburst in the rain outside, the big sort of like lynchpin argument of the film where they're all out in the open. And then she has the scene that follows it where she talks to Ginny about the sexual abuse, and she tries to get Ginny to admit that that also happened to her. And then she gets this deathbed scene. And, like, in between, like, she's, you know, she gets moments. They have the scene where they get drunk, too, before Ginny goes away. I think she's really fantastic.

I think, I think some of the bigger moments in the movie kind of betray her in a way that I wish, if the film had been stronger, I don't think, I think those moments come off better. Do you know what I mean? Yeah, absolutely. She's such a good actress, though. Like, I feel like, I mean, we're always sort of simping for Michelle Piper on this podcast, but, like, it's for a good reason. Oh, also, let's do this now. This is our sixth Michelle Pfeiffer film that we've done on this had Oscar buzz. We've been hitting the six timers a few weeks in a row here.

And we're going to have another one coming up soon, too. I think we're just hitting the point of the existence of this podcast. Yeah. Where it's like, they're just going to keep going. I have fun with it. You know, you know I enjoy it. So, yeah, this is our sixth Michelle Pfeiffer film after two Jillian on her third. 37th birthday, Frankie and Johnny,

hairspray, our beloved mother, our 100th episode, white oleander, which we did recently with Nathaniel, and then now a thousand acres. So, as we do, Chris, when we hit the six-time-ers... Amazing that half of our Michelle Pfeifers had guests. Because we also had Gavin Mavius for Gillian. To Gillian. Right. And we had Matt...

Right? Well, no, it was camera. It was Cameron Sheets. It was Cameron Sheets for a hairspray that's right. God, what a great episode that was. The people love Pfeiffer. Listen, we give the people what they want and they want Pfeiffer by the barrelful. So as we do when we hit a six-timer is we, I come up with a little quiz that I give you and hopefully our listeners can play along. So again, the answers to the following questions will be any one or maybe. maybe multiple of

to Jillian on her 37th birthday Frankie and Johnny hairspray, mother, white oleander 1,000 acres. Chris, are you ready? I am sorry, I was having a sip of my water. Listen, you got to hydrate if you're going to take this quiz.

I am nothing on this podcast, if not one of those random Twitter accounts telling you to drink water. Drink water, you'll feel better. Okay, which of the These six films is the longest. Mother. Mother at 121 minutes.

Very good. Which is the shortest? Frankie and Johnny. No. To Jillian. To Jillian on her 37th birthday, 93 minutes. I realize that I sort of have created something of a produced questionnaire specific to our podcast, which is this. Because I always tend to start out with which is the longest and which is the shortest.

What is your favorite color? What is your favorite curse word? Okay. Which of the six was the only one that was an original screenplay? Mother. Mother, yes. Famously Mother. Although truly adapted from the Bible. Come on now. All right. Yes. Which was the highest rated on Rotten Tomatoes? The highest rated on Rotten Tomatoes is it hairspray.

Hair spray, right? 91% on Rotten Tomatoes and well-deserved. Which was the lowest on Rotten Tomatoes? A thousand acres. You would think at 24% a thousand acres would be it, but there is something lower, and it surprised me. Really? Okay. I don't think it was Frankie and Johnny, though. To the point where I'm going to go double-check this, because it seems like a mistake to me, but let's see. Is it, is it to Jillian? It is to Jillian.

Doesn't that have like a, no, that's right, because doesn't it have a wildly low, like, 15? percent or something. 14% on Rotten Tomatoes, which is, like, that's not that bad of a movie. It's not even a bad movie. It's an okay movie. It's an okay. There, but would be, like, 60 Metacritic. It's, like, everybody says that it's fine.

It's kind of fine. It's a good movie. Which film has a score by Thomas Newman? White Oleander. White Oliander, of course. The American Beauty leftovers. I was going to say, as our friend Bobby Finger says, knock off American Beauty.

Yeah. Um, which film has cinematography by Dante Spanati? Dante Spanati, that is Frankie and Johnny. Yes. Which film has cinematography by Tak Fujimoto? A thousand acres. A thousand acres. Um, it is handsome, this film.

I mean, for a movie where so much is shot outside, like at night, it looks good. Yeah. Yeah. All right. Which two films were distributed by Paramount? Um, uh, mother. and not this, not to jillian, not hairspray. Frankie and Johnny?

Frankie and Johnny. Yes, very good. Which two were released on the same calendar date 11 years apart? Oh. Uh, oh, interesting. Yeah. Is it? Is it A Thousand Acres and Mother?

They were both September movies. It is not. No, because A Thousand Acres was July. Was it? Yeah, I'm pretty sure. I thought A Thousand Acres was September. Oh, it was. Sorry.

But anyway, no. They were only ten years apart. Is it like Frankie and Johnny and White Oleander? It is Frankie and Johnny and White Oliander, both released on October 11th, Frankie and Johnny, 1991. Woodlander, 2002. All right. Which two films feature stars of The Greatest Showman?

A thousand acres. And, um, wait, are you forgetting Ed Harris's cameo in The Greatest Showman? Wait, does he have a cameo on The Greatest Showman? No, I'm fucking with you. You asshole. You asshole, you made me do that. You made me jump at it. Sorry.

I mean, probably hairspray. Yes, hairspray, why, though? I'm going to make you, I'm going to make you show your work. I'm not just going to allow you to get away with their both musicals, so probably, even though that's a good guess. Well, it's not Nikki Blonsky from the movie Hairspray. It's not Elijah Kelly. Oh, it's Zach Efron. It's Zach Ephron.

Zach Ephron from Hairspray and Michelle Williams from 1,000 acres. Together at last in The Greatest Showman. Okay. Which two films feature stars of The Kitchen? Oh. Why are you doing this to me? Never mention the kitchen. It is so brutal to me to think about.

Okay. Lots of people in the kitchen, though. Obviously 1,000 acres because Elizabeth Moss. And I'm willing to bet that there's more than two. I don't think so. mother because of Dom. Of Donald Gleason. Yes.

My favorite scuzzy sex couple Dom Gleason and getting corny because they chop up some body parts. I know we don't pronounce the M and Donald Gleason,

but when I say Dom Gleason, I'm just going to stick with it because I think it's sexy. All right. Four reasons. Okay, which two films feature stars of Wonder Woman 1984? Oh, God.

Who's even in Wonder Woman? in 1984. Well, Chris and Whig is in Mother. Yes. And, uh, there's no there's no

pine. There's no. I, I blocked out so much of that horrid movie from my brain. Um, who else is in it? Interestingly, it's not Chris Pine,

even though Chris Pine famously, uh, Well, it's not Galgado. It's not. Oh, my God. Why are you making me think this hard about that movie? This other person isn't in Wonder Woman 1984 very much,

but she has sort of a... Oh, I gave away that's it a woman. Sorry. She sort of looms large in the greater Diana Prince narrative. Is it like... Oh, it's Robin Wright. who's in White Oleander. Indeed. Robin Wright from White Oliander.

Kristen Wig from Mother together in Wonder Woman 1984. Okay. Home stretch. Which two films did Fyfer co-star with someone who was Oscar nominated that same year? That same year. Is it Mother for Javier Bredem? No, I don't believe he was nominated. that year. 2017? I don't think so.

He's got a lot of nominations. I'm going to double check it just to make sure, but I don't think so. Frankie and Johnny for Pacino. No, Pacino. Well, not Pacino. Isn't that Dick Tracy year? Dick Tracy was the year before. So it also wasn't the scent of a woman year. No, that was the year after.

Damn it. Yeah, Bardab hasn't been nominated since Beautiful in 2010. It can't be hairspray. It's a white oleander for Renee. Yep. Renee Zellweger was nominated for Chicago that year. And, um...

Well, no. Why did I thank Alice and Janie for hairspray? But that is not it. No, she should have been nominated for Juno that year, but she wasn't. Now why am I forgetting the Pfeiffer movies? Note that I said that Al Pacino was wrong. Oh, Kate Nelligan.

That is the Prince of Tides year. Frankie and Johnny's Kate Nelligan was nominated for the Prince of Tides that year. Yes, exactly. All right. Of which film did Leonard Maltin write, I found the movie to be an ordeal. All I want is to move on. Well, I don't think he was still writing at the time of Mother,

but that would absolutely be something someone has written about Mother. I found it to be an ordeal. All I wanted was to move on. Was it White Oleander? No. I mean, was it to Gillian? No. okay was it

Frankie and Johnny no my god was it mother it was mother wow I don't know where he was writing that for he still I think he just writes little notes to the ether

and just sort of they find him and put him on rotten tomatoes um all right final one of which movie did Owen Glyberman write plays like five masochistic lifetime channel movies that have been mashed together until they all have

the flavor of strained peas. That is a thousand acres. Shut the fuck up Owen Glyberman. Also that. Yes. Correct. Well done with the Michelle Pfeiffer six-timer quiz. Chris. Yeah. I wanted to end it on that

Owen Glyberman quote. Because he sucks. I want to transition back into a thousand acres. And again, I do feel like we touched on this a little bit ago. I don't think this is a successful movie. I think this movie fails at crucial things that it needs to do.

I think it fails its performances, which is too bad because there are some really good ones in it. Yes. But again, this tone of, you know, bringing up lifetime. Lifetime is such a fucking, like, red flag when anybody ever uses it. But it also is like, I'm sure

pretty much everybody has said it at some point, but it's such a hacky thing. Of course. And also, like, so reductive for like what this, and like, again, we are probably much more, you know, this is conversations where already having, you know, the power of men and people not believing women and, you know, the idea that, you know, people should just stay silent for, like, so that everyone can hold up their ideals, what the fuck ever. We are probably way more interested in these stories right now and not reducing them. But, like, that's just so gross to be like, oh, it's just a lifetime movie.

when it's like, you know, an actual serious subject. I think it's indicative of the time in which this film was made that the crux of the story isn't getting either a legal entity or the townspeople isn't getting someone to believe their story. It's taken as such a given that people don't believe them and won't believe them, that there's no point even in trying to convince the townspeople or the courts or They're too invested in holding up this idea that he was a great man

and what it means for them to preserve that for themselves. Right. So the importance then is them is sort of Ginny and Rose coming to terms with each other and with themselves. And I think if this movie is made today, if this story is told this way again today, I think definitely it's much more. of a premium is put on when will we get someone to believe them

and how? And what does it say that people don't believe them? But it was sort of taken as a given that they wouldn't be believed back then. I want to talk about Jessica Lang for a second in this film. She's definitely, of the three

sisters, she's the one who is who the story is told through. She's the one who gets the voiceover narration at the beginning in the end. She's wearing a very Republican wig throughout this film. And it's interesting to sort of look at her through the lens of the last decade or so of Jessica Lang's career, the sort of American Horror Story decade, the feud Betty versus Joan, Ryan Murphy kind of era of Jessica Lang, which, again, we can criticize Ryan

Murphy all we want, and, you know, I will on occasion. But Jessica Lang worked through this entire goddamn decade because he was giving her, like, scenery to chew. You know what I mean? Jessica Lang was, like, ate this decade, and rightfully so. But it's interesting to watch then something from a previous decade. And even, like, she had won her second Oscar a few years before this in Blue Sky, which is, it's not a Ryan Murphy character, but it's not not a Ryan Murphy character. Like, she's very sort of... That is one of the worst Oscar wins.

That performance is so much. It's so much. But this is not that. This is very reserved. This is low key. It's closer to the type of roles that like we... We were more likely to ascribe to her before Ryan Murphy kind of took over because like Blue Sky is a little bit of an anomaly.

Well, but I will, I will... Add to that, though, because this year 1997, Lang, and we'll get into her Golden Globe nomination, but she was also nominated for a Yoga Award. Backwards Goya, of course, how very clever, which is essentially it's the Spanish Razies. And Jessica Lang was nominated for worst foreign actress for a thousand acres, but also cousin bet, that costume drama that didn't really exist. And hush, which is, I would argue... Also a Ryan Murphy character. Also a Ryan Murphy character.

And also, and it's opposite Gwyneth Paltrow, who would be in a lot of Ryan Murphy things also, which I think is interesting. I do wonder how many times Ryan Murphy has seen Hush. Like, I bet into the dozens. This is going to be my guess. Because it also starts Jonathan Schack, which, like, Jonathan Schack would have been... No, it has the trailer where, like, I think Gwyneth Paltrow is in labor, and Jessica Lange won't help her. something like that Like that's the horror

As soon as we're done recording this I'm going to go watch the trailer for Hush Because I want to re-experience that But yeah And it was also as I said Jonathan Shack who would have been in Ryan Murphy things If he was

You know if his era had aligned With the Ryan Murphy era I feel like that's Oh absolutely I feel like all of those people Who were in Greg Iraqi movies Would have been in Ryan Murphy shows You know what I mean?

Like I feel like that Venn diagram Has a lot of space in the middle Um But yeah, so like Jessica Lang was taking some of these sort of like over the top roles, but this is definitely not one of them. This is very, very reserved Jessica Lang. It's not even like losing Isaiah Jessica Lang where she's very like, you know, the dramatics of that are very keyed up. She's very quiet in this. Even, you know, with the exception of like one or two scenes. She has her tics and isms that I think are very prevalent in this performance. I didn't think she was particularly great. You would not have given her the Golden Globe nomination that she... No, I would have given it to Michelle over her. I would have as well. Yeah, I don't disagree with you.

Talk about the ticks, though, because I... You know, it's just like, you watch the Debbie Reynolds' impersonation of Merrill Streep, and it's not far off from that. I think Lange is a little bit more grounded than Streep is, but, like, I don't know. She has a certain way of syllables rolling off her tongue when she is suddenly getting emotional. Yeah. No, I know what you're talking about. Very much the tools that are in her box.

It's the Jessica Lang thing. The other thing that I was struck by, and again, it made me very frustrated that Jennifer Jason Lee isn't in more of this movie and doesn't get more to do. She and Jennifer, she and Jennifer Jason Lee are very credible as sisters. like they look very, very much like they could be sisters. And Fyfer is far off. But like nobody looks like Michelle Fyfer. Michelle Fyfer is an alien from the planet gorgeous.

You know what I mean? Which is a plot point of White Oleander. Yeah, basically, right. She's from a Viking planet where everybody was terrifying and gorgeous. Yeah, but like Jessica Lange and Jennifer Jason Lee, I was like, oh, yes, you are actually sisters. And you should probably play sisters in like several things. Yeah, I think she's definitely not as good as Pfeiffer in this.

I was sort of struck by, it's interesting to watch Jessica Lang not sort of, again, just sort of like scream and rip down a tapestry or something like that. In a thing. Speaking of, though, of screaming and ripping down tapestries, I want to talk about Jason Robards in this film. Now, again, two-time Oscar winner, he went back to back, right, for all the president's men in Julia? I believe so, yes.

76 and 77. They're at least, I think, back-to-back performances, if not back-back year. I'm pretty sure it was back-to-back year, because I'm pretty sure all the president's men is 76, and I know that Julia is 77. Don't ask me why. But, yeah. So obviously, hugely acclaimed actor, interestingly enough, I think the performance that maybe we wanted from Jason Robarts,

and again, they're both written, you know, not the same. But two years after this movie, he makes Magnolia. And that is the great sort of tarnished patriarch diminishing in his old age performance that people remember from him

in a much more obviously beloved movie. But this one, he just really kind of rampages and rages. I'm thinking specifically of that outdoor scene in the rain. But there's also the courtroom scene, and he's playing this sort of, you know, he's going through dementia, or at least like maybe, you know, certain stages of it. And those sort of episodes bring out this monster in him that previously only Rose remembers. Like even Ginny, who like also experienced abuse, shut so much of that out. And it's interesting. I do find it interesting, the way.

way that this movie kind of breaks the glass on Robards' character through conversations that Ginny and Rose have with each other, where, like, there's one point sort of early on when they're, like, folding, folding laundry at the dining room table. And Fyfer just sort of starts, and she says, like, you know, I just hate him. And I wish he would, like, just go to hell and, you know, be banished to hell, never to return or whatever. And I was like, that's, a lot for what up until now we had seen as just kind of an irascible old, you know, landowner, essentially. And so the story, again, getting into, you know, telling and not showing, sort of opens those little doors through those conversations. And then all of a sudden, once that happens, then in my mind, and my mind's already because I had assumed through my weird, Dolores Claiborne brainbleed that he had been abusive towards Jennifer Jason Lee. That's when my brain is just like, oh, no, he abused Michelle Pfeiffer.

Like, that's clearly what she's getting on about. And then sort of the next time we see him, he's a lot angrier and a lot more sort of terrifying. And you start seeing him through the eyes of what Rose likely sees him as. well it's important that the first time that we really see him you see him like uh when jesska lang greets him but of course like she's the one who has uh like erased everything from her mind you know who has buried that drama into having this like very like kind uh veneer like whatever um type of personality but then the first time we really see him is in that like group town setting of this like barbecue where he's beloved by everybody and is greeted very, like, reverentially by everyone else. And it's another thing that just makes the Caroline character so frustrating because the first telling signs of the type of person that he actually is and the type of anger that

his dementia is unleashing is. is him casting her out because Caroline tries to show up and then he is like very implacable and like barking at her to like fully cast her out locks the door in her face all that yeah yeah

and by the time we get to this fight scene where everyone's kind of bellowing at each other it feels like it's a lot of bottled up stuff that's finally getting unleashed and we don't fully know all that's kind of happening and why everybody's getting so heated and then it's like as we kind of picked the pieces up throughout and you know the revelation about the sexual abuse doesn't come until after then too and it all makes a lot more sense but by that point we don't

really see jason robards again right we don't not until the courtroom scene really which is the next time where he's like he totally doesn't know what's going on He thinks Caroline is dead. But it's the type of, like, performance that we don't really get to understand the character until the performance is over, basically, until the very end courtroom scene. So it's like, that's not the type of thing that usually gets people nominated for performances. No. Right. I mean, we've seen, I mean, Robert Duval did get nominated for the judge, so, like, I don't want to, like, totally...

Oh, sure. Or like, we've seen angry patriarchs get nominated for stuff. Right. Yeah, I don't love the performance, but I don't want to, like, put it on Robards's, you know, dearly departed shoulders either because I think a lot of the deficiencies where this were in this, you know, the screenplay of it. And again, don't know how much of that to blame on the novel. Maybe maybe that. Roger Ebert's review, Ebert did not like this movie. He wrote, he said, this is based on.

on a novel by Jane Smiley, which won the Pulitzer Prize. He said, I haven't read the novel. So either this film is an indictment of the author or an indictment of the prize, which I was just like, oh, okay. I do love an Ebert Byrne, but that one, sir, be kind. Or no, he said grave, he says either this movie has done a grave disservice to Jane Smiley or the Pulitzer Prize has done a grave disservice to itself. or something like that.

It was just... Right. Yeah. Anyway. Yeah. I think there are small moments in this movie that I find very successful. I think the scene where Pat Hingles' character, who is also kind of like, he's not losing his mind, but he's sort of like not exactly an eccentric.

I think he's sort of part of his character is based on the fool from Lear. So there's a lot of, I could be wrong, but I don't, anyway, there's a lot of him just sort of, like, making a scene. He's making a scene at this sort of, like, big community potluck dinner or whatever the fuck. Well, he tricks them because he's like, come to this potluck, it'll be a show of, this is the only thing we really get from the town shunning them. And it's early. He's like, come to this, it'll be a show of support and it'll show the town that everything is all okay and it'll be good. for your father. And he like gets them there and immediately

shames them. Call them bitches. Yeah, exactly. Yeah. And then Colin Firth, who has his son, sort of like, you know, first sort of the move that I loved is Colin Firth from a seated position, like puts his hand in his face and like shoves his face and like makes him sit down. And then

like, he like hits him, right, later in that scene? Yes. Yeah. And again, there's a lot of backstory in there. In Lear that Colin Firth character is the bastard son of that guy. And so there's a lot of stuff going on there in terms of like he's

trying to prove himself to, you know, be worthy of yada, yada, yada. And in this, it's all very kind of vague. He, at the beginning of the movie, Colin Furth's character has like just returned from college. It's one of those things. They call him a prodigal son. Right, right. But it's like, but again, it all feels very vague and unclear, and yet he's, like, always around. And he's also, like, he ends up sleeping with Jessica Lang's character. He, again, in things that we hear about but don't ever see, has also been sleeping with

Michelle Pfeiffer's character. After her husband drives his car off into a ditch and dies, she kind of, it seems like she's going to end up with the Colin Firth character, but again, all of this happens off screen. And we find out later that when she got re-diagnosed with cancer, he sort of left and couldn't take it. And it's like, oh, wow. So another character fully experiences resolution not in front of the camera. Just like we're hearing about it secondhand. There's so much of that in this movie that we hear about secondhand. And it's so strange. And not to the point where it becomes like a choice. Like, I don't think it's necessarily just like it says anything

about anything that we're probably just shortcut screenwriting to be honest yes yes i think so too the screenwriter of this movie had worked with jane campy in a bunch i believe laura jones is her name she's from new zealand she had done the screenplay for uh an angel at my table and the screenplay adaptation of the portrait of a lady uh both of those with jane campion after well the same year as a thousand Acres. She had done, oh, God, she did the Jocelyn Moorehouse, Jillian Armstrong, double bill, which is, that should be an Olympic event. She does the screenplay for Gillian Armstrong's Oscar and Lucinda, also in 1997. That is, I always, for whatever reason, I always have Jillian Armstrong and Jocelyn Morehouse in the same bucket

of, like, 1990s female directors who, like, didn't really, I know Jocelyn Moorehouse did direct the dressmaker in the teens. But, like, I feel like their careers didn't flourish into the 2000s the way they could have or maybe even should have. But also, relevant to our interests, Laura Jones was one of the credited screenwriters along with Neil Lebutte and David Henry Huang on Possession, which we did very recently on our Focus Features miniseries. So she's been kind of hanging around. We're back, back, back again with her. She also did the screenplay adaptation for Angela's Ashes, a film we cannot do. on this podcast, unfortunately, because it got a score nomination?

Score, John Williams. John Williams' score for Angel's Ashes. But, God, talk about another, like, movie that I know of intimately well, because it was a book, and it was a very popular book when I was working at the public library. The production company, sorry, did you want to talk at all about Laura Jones? Nope, no, you covered it. The production company thing is interesting for this movie, because if you look at the trailer, I sent you the link to the trailer before this.

Polygram. Yes. It is shown as a polygram filmed entertainment film, and yet it is not listed as a polygram film on Wikipedia. And I know Wikipedia is not the be all and all. But on the DVD that I own, and the DVD, this DVD was, I believe, a 2013 print. And anyway, the distributor is listed as Touchstone. So I don't know whether it was one of those, like, when Polygram got sold off to whoever Polygram got sold off to, that, like, the rights to it went hither and yon, and it's now sort of known as a touchdown picture. But Polygram is one of those companies that were very active in the 1990s, and it was one of those that, like, evolved into one of the companies that went into USA films, which went into Focus Features. You may have heard about that on our several episodes about Focus Features. But this era of polygram is interesting.

If you look at their, they had produced, they were one, like, they would produce things and then their stuff would be distributed oftentimes by Grammercy, which was another, you know, company that went into, the amalgam that went into eventually focus features. Portrait of a Lady was one of those films, Jude, the, the Kate Winslet movie, right? Kate Winslet's and Jude, right? the Winter Bottom movie? Right before Titanic. Right, right, based on the Jude the Obscure. Jude the Obscure, the Thomas Hardy novel.

Sleepers was a Polygram movie that was distributed by Warner Brothers. That was the... I thought that was Warner Brothers. It was, but Polygram was a production company on that. That was the Brad Pitt, who is it? Brad Pitt, Mini Driver, Jason Patrick.

Dustin Hoffman. Right. Kevin Bacon played the sexually abusive, guarded a juvenile hall, right? Yes. Right? Yeah. Kind of like proto-mystic river a little bit, sleepers.

They did, again, produced and then distributed by Gramercy, when we were Kings, the 1997 documentary about the Muhammad Ali, George Foreman fight that was. was nominated for an Oscar. One. It won the Oscar. It won the Oscar. So, yeah, 1997, they did the game, David Fincher's The Game, with Michael Douglas and Sean Pan.

The Matchmaker, the Gene and Garofalo movie, where she's in Ireland. Absolutely. A movie that exists in my mind only as a poster. Yes. I exist mostly in my mind because she does a stand-up bit in one of her late-90s shows where she talks about being in Ireland for this movie that hasn't come out yet. And that was eventually the matchmaker. Life Less Ordinary, which was a Polygram production that was distributed by Fox.

That was the Danny Boyle follow-up to train spotting that I saw back in the day and I keep meaning to re-watch because it looks crazy. and I want to refresh my memory. MTV Movie Award for Best Dance Sequence Sequence nominee. Yes, Cameron Diaz and Ewan McGregor. That was the one.

I've told the story, right, about Cameron Diaz and Chris Isaac presenting at one of those MTV movie awards and they're presenting Best Kiss and he like forcibly kisses her and she's like visibly pissed about it. And so the next year, either she says this on stage,

the next year she presents with Ewan McGregor because of they're doing a life less ordinary. And she either says it on stage or says it in a backstage interview that I remember watching, where she's like this year I'm presenting with Ewan McGregor because he's a gentleman. I just remember that very, very clearly.

Fuck you, Chris Isaac. Yeah. And it's really colored my like, you know, perceptions of Chris Isaac now over the years. Anyway, Polygram eventually sort of, you know, as we said, gets sold and its movies sort of move through whatever rights

labyrinth it goes into. But I don't know if we can put a thousand acres awards misfortunes on, you know, insufficient support by a distributor. Like, 24% at Rot Tomatoes was going to be a tough road to hoe no matter what. I can't, I mean, like, that even makes, I think, the Jessica Lang nomination surprising. Of the Globes, yeah. Yeah, especially because it's September and it got that type of response. It was even like November, you know. It feels like a reputation thing.

It feels very much like Jessica Lang had won an Oscar a few years ago and was really riding on a reputation. The Golden Globes that year are interesting. I want to read you the nominations for Best Actress and a Drama. That was obviously the Titanic year, but it was also as good as it gets. Now, Helen Hunt wins the Oscar for as good as it gets, but she's obviously in comedy for the Golden Globes that year. So, Best Actress. wins being probably at least my last choice

of those five in comedy or musical. I love that you support Joey Lauren Adams and Chasing Amy that way, and I adore you for that. My winner would be Pam Greer. Pam Greer? All right, so, well, all right, let's start with actress in a comedy then. Helen Hunt beats out Joey Lauren Adams and Chasing Amy, a film that

I continue to think is more fascinating than its reputation these days. I can't imagine I would fully endorse it. I can't imagine I would fully endorse the movie, but even I can remember her being the best thing about it. But I think you don't need to fully endorse the movie to feel like there's interesting stuff going on in that movie,

especially, and again, to place that movie in the context of 1997, directed by who it was directed by, Kevin Smith, it's a really interesting look at where the culture was then, and I think it was kind of for where the culture was at that moment, and for the

audience that it was directed to, a really interesting film. I will just say that. Like, This is a film that talked about intersectionality for, like, a black gay man in that, in that film, like, in 1997, two fucking stoner bros. You know what I mean? Like, I'm just saying. It's an interesting movie. I should rewatch.

I would say, talk to me. Talk to me when you rewatch it. I think it'll be a little bit more interesting than you maybe expect, with a lot of cringe thrown in there as well. No lie. All right. Pam Greer and Jackie Brown, phenomenal. I agree with you. Should have been Oscar nominated.

should have gotten the comeback story that John Travolta got out of Pulp Fiction. Anyway, Jennifer Lopez for Selena, a big, obviously, breakthrough, makes her a superstar, and rightly so. And then Julia Roberts in my best friend's wedding, which one of the great Julia Roberts' performances, I will stand by that.

I'm so glad that she was actually nominated for that performance, too, because, like, the line at that time in 1997, for that movie was that character was a monster and not seen quite so positively as a way. Well, to the point where well, and it's one of those things where

I think an audience's ungenerous perception of a character accidentally helped make a movie better because of course the original film I believe the original version of that film had a happier ending for Jules and the audience

was so adamant that she not get any kind of optimistic love outlook at the end of that movie. Like, the movie really wanted her to end up all alone. And so the audience, the test audience did. And so what they ended up doing is the ending that we get, which is she ends up alone and dealing with it. And then having this like moment of really sweet, you know, Rupert Everett comes back and, you know, has a dance with her. And it's this really great little note of just like, yeah,

there might not be romance at every juncture of your life. But we will at least be able to have this fabulous dance together with your lovely friend who is there for you. And I don't know. Maybe you'll be a little bit better than you were yesterday. Exactly. It's a wonderful ending. It's a wonderful ending for that film.

But anyway, yes, Helen Hunt wins. I have come back around. I think I sort of fell in with everybody who, you know, kind of slighted that Helen Hunt performance as... I think she's fine. I think she's good. I think she's better than I, for a while, was willing to give her credit for. Nicholson, of course, also wins for as good as it gets. And that's the one where he...

That was the Golden Globes where, among other things, Christine Lottie was in the toilet when she won for Chicago Hope. and Robin Williams had to come up to the stage and vamp for her for a while. And so Nicholson wins for as good as it gets, and he gets up there. And that was also the Golden Globes, where Ving Rames tearfully insisted that Jack Lemon get up on the stage and accept the Golden Globe that Ving had just won. And literally was like, to the point where there's one where it's just like, I want to honor Jack Lemon. He's a great actor.

And Jack Laman is being very, very sort of abashed by the whole thing. But Ving Rames would not back down until Jack Lemon, like, took the award in his hands and, like, gave a speech. And Jack Lemon, it's so funny, he gets up and he's just like, this is the craziest damn thing I've ever seen. And, like, I don't even know what to say. And he's like, should I give a speech? Is this weird? Like, and he starts to. And then he's like, this is too weird.

I got to go. And it's just a very funny moment. As if, I mean, like, Jack Lemmon, one of the greatest to ever do it, legend icon, he had the trophies. He already had that. Well, that's the thing. And that's sort of what he was saying. And he was just like, he's just like, Ving, have your moment. But Ving Rames was like absolutely adamant that Jack Lemon take this trophy from him. It was so funny. So all of this has happened. And Nicholson gets up to accept his award for as

good as it gets later. And he goes, this is the, this is the weirdest night ever. He said, we got people in the toilet. We got people giving the rewards away. And then he references Jim Carrey, who had been nominated opposite him for Liar Liar in that category. And he goes, I guess, given my competition this year, I should. And then he turns around and does the talking out of his butt thing, like East Ventura. It's, again, Jack Nicholson, you know, ups and downs and say what you will. But, like, that man knows how to give an award show moment. And it's so, God, I thought that was so funny.

Anyway, we want to talk about best actress in a drama, because that's where Jessica Lang is nominated, 4,000 acres. Judy Dench is the one who wins. That was the big Judy Dench comes to America. is like our new British thespian wins for Mrs. Brown for playing Queen Victoria and Mrs. Brown.

The Mrs. Brown like build up because obviously she doesn't win. She probably was second place even She was second place and even in Helen Hunt's Oscar speech

she says she's like Mrs. Brown's one of the best performances I've ever seen like she essentially is just like you deserve this award. Yeah, I think Judy has a Because sometimes people were like, how did she win for Shakespeare in love for five minutes?

Well, she almost wanted a previous year. Yes, that's the, yes, that was a big reason. Other nominees in actress and a drama were eventual Oscar nominee is Kate Winslet in Titanic, which was always going to happen because A, Titanic was massive and also Kate Winslet rules in Titanic. And then, although there was a lot of at the time, people were quibbling about the accent, people were quibbling about whether we should be nominating. actors from this movie because, like, the story is the effects and the visuals and the ship and whatever, and everybody hated the

dialogue. No, she rules in that movie. And then Helena Bonham Carter in the Wings of the Dove, who might have been my winner that year of those nominees. She's great. She's really fantastic. And that was another sort of breakthrough for her. She had been in, obviously, movies, she had been in a room with a view, and

Howard's End and whatever. But this was, like, Helena Bonham Carter lead actress. And, like, kind of a rad role. Like, she's kind of, you know, take no prisoners in the Wings of the Dove in a pretty cool way. And then the fifth nominee was perhaps my favorite, and I'm so glad it happened,

is Jody Foster in Contact. It was probably lingering around the like top nine actresses in contention that year, I would say. Contact was like, was not a... The reception for Contact, I think, took a while for people to warm up to that movie, and I mean years, I feel like, for people to, like, fully warm up to that movie. Because it doesn't do exactly what you think it's going to do as advertised. Yeah, it pissed people off because there was no actual aliens in it.

Right. And it's not a space, like, it's not a space movie like you think a space movie is going to be, and it really kind of sold itself as a space movie. It is all the better for what it actually is, which is a character study of a determined lesbian who is. misguidedly romantically involved with a priest for a while. Yeah, yeah, yeah. Contact, again, rules, Jody Foster rules. So, yeah, Jessica Lang is kind of the odd man out in that category, I think. Yeah, because, like, the rest of those movies were movies that were, even if contact was just so for Jody Foster, really,

like, those are movies that were actually still in the conversation. And at this point, 1,000 acres would have died. And, like, even if it was Fifer, instead of Lange, it would, I mean... It would have been weird, especially because Julie Christie, who ends up being Oscar nominated that year, wasn't a Globe nominee at all for Afterglow. Emily Watson and the Boxer, now you wouldn't think, oh, why would it have been Emily Watson and the Boxer? Well, the Boxer was a Best Picture Drama nominee at the Globes that year,

and Daniel Day Lewis was nominated. So, like, it's kind of interesting that Emily Watson wasn't also nominated if they liked it so much. And I'm trying to think of any other, like, major contenders, but, like, even just those two, like, it's surprising that neither one of them were nominated, and Jessica Lang was for this movie that critics thoroughly hated, and it was already months, months, months old by then. So, yeah, it's a weird one. Oh, also Joan Allen and the Ice Storm was right there. That was the Globe's nominated Sigourney Weaver and supporting actress, so, like, you know, she was definitely, that movie was definitely, on their radar, and Joan Allen is so good in the ice storm. So, like, there were definitely a lot of areas, a lot of directions that that nomination could have gone instead of Jessica

Lang. It really is just, like you mentioned earlier, this, like, kind of carryover of, and it's, like, it's probably also one of those Globes gonna Globes thing, where, like, she was just one of their favorites. And again, we say Globes gonna globe, but again, the Globes give and the Globes take, Because, like, getting Pam Greer and Jennifer Lopez and, you know, Joey Lauren Adams nominations, like, I'm glad for all of those things. You know what I mean? So, like, it's, you know, you take the good, you take the bad. It's very facts of life with them.

Who would be your best actress winner of the year? Oh, of everybody? Yes. I'm going to ask you for a moment while I bring up my spreadsheet. And by spreadsheet, I mean, Word document. that should probably be converted to a spreadsheet at some point, but who has the time? Who would yours be?

While I bring that in. It would be Pam Greer. Pam Greer for Jackie Brown. I mean, it's a great performance. It's a really great performance in a great movie. She's amazing. I remember seeing that movie in the theater as a child. Don't know why my grandmother and father took me to see it, but they did.

And, like, fully not understanding what that movie is. and then watching it as an adult, it's like, that is like Tarantino's best movie. She's amazing. She's really fantastic. Yeah. It's interesting that Samuel L. Jackson was also nominated in Best Actor in a comedy. Not that he's not good in that movie, but like, anytime I'm sort of told that, like, he's the co-lead of that movie, I'm like, I guess technically, but like that's so very much is Pam Greer's movie for me that. Um, I don't know.

It's always a little puzzling when I'm just like, yeah, I guess like Samuel Jackson is, you know. I mean, they probably did campaign him in lead because then it was easier to campaign Forster and supporting. All right. My five nominees. The four, uh, I'll read from my fifth place. Do I stick by this? I think I stick by this. Number five, Julia Roberts in my best friend's wedding.

Number four, Parker Posey in the House of Yes. number three Kate Winslet and Titanic She rules Number two Helena Baum Carter In the Wings of the Dove And guess what, Chris, we agree

Pam Greer is my number one for Jackie Absolutely I don't know if I feel like That's rare for us That we agree on like absolute number ones I think that's especially as it gets older So I'm going to celebrate that Yeah

I also had on that list Obviously Jody Foster Joan Allen aforementioned Helen Hunt aforementioned And then I have still never seen Mrs. Brown. So that's a thing that I need to correct in my, in my history. Anyway, what else, what else other straggling notes about a thousand acres?

Who haven't we talked? I mean, we talked a little bit about the Jennifer Jason Lee era of this moment where it very much was, you know, is she the best actress who's never been nominated for an Oscar of her sort of era of her moment. And the fact that it wouldn't happen for another almost 20 years from this point is wild. For that movie. I know for that movie for the hateful eight, which I just, I will always be a little resentful that that's her only Oscar nomination. We could have found a way to swap it out for annihilation a few years later, right? Like, we could have at least just done that. Just for the line reading. Just for the

line reading. I want to sort of, as I am, have you seen there's another new IMDB redesign that they've done that looks. It's awful. Horrifying and like, like impenetrable, anyway. It's not redesigning things. It's like the USA Today of the internet. It is so ugly.

I get why certain websites are always redesigning because aesthetics are important and whatever, but like, if you are a website where your main purpose is research and you utility? Stop fucking constantly changing where everything is on your page. It's so counterproductive to what your website is for. Anyway. Her only other 1997 movie was a Henry James adaptation. It was Agnesca Hollins, Washington Square. Is that how we pronounce Agnesca Hollins? Is there a... I do believe so. All right. Jennifer Jason Lee, Albert Finney, Maggie Smith, Ben Chaplin, Judith Ivy, Jennifer Garner's in that movie. I've never seen Washington Square. I should, actually, if it's that talent involved. You know, costume

drama, very, you know, Age of Innocence, Henry James, this kind of a thing. That was her only 1997 movie. And then this sort of feels like towards the end of not to say, like, the Jennifer Jason Lee Oscar experiment, but, like, kind of, we're like, this was the tail end of we're going to see if Jennifer Jason Lee is going to get an Oscar nomination from something. Because there were so many. Not only, we mentioned

Mrs. Parker and Georgia. Like, there is definitely a world where both she and Kathy Bates get nominated for Jolores Claiborne. Both of those performances are really great. I still think she's Oscar worthy and the Hudsucker proxy. I know that's something of a divisive performance because she's so big and doing

so much, you know, pastiche kind of a thing, but, like, I think she's irresistible on that movie. I think she's so funny. I have to see the Hudsucker proxy. It's an odd little movie, as far as Cohen's movies go, but, like, I really enjoy watching it. But, like, she had gotten a bunch of recognition for movies like Last Exit to Brooklyn and Miami Blues. Like, the entirety of the 1990s was Jennifer Jason Lee just giving, like, critically acclaimed performance after critically acclaimed performance. And then after a thousand acres, she's really not. not in a movie for another couple years, and she surfaces with Existence.

A movie that I love. Right, right. I just mean in film, of course. Yeah. Existens, a movie that I love, but, like, David Cronenberg's Existence is never going to be an Oscar play. You know what I mean? Like, no matter how good it was, no matter how much she was. The least likely of David Cronenberg, Oscar-nominated movies in his Ove.

Where did we come down on Existence as far as horny versus gross? Is it both? I definitely think it's both It is totally a butt-sex metaphor It's definitely horny Like for sure I just think that movie Like kind of looks like crap

I'm like No one was giving David money at this time To make a movie after Crash And you can tell But Yeah I like existence Jennifer Jason Lee throughout the aughts Is an interesting mixture

Of like really small movies Or really challenging movies interspersed with sort of thankless parts in bigger movies, where it's like it's either the anniversary party, which she co-directed with Alan coming, right? Wild movie. Gwyneth Paltrow plays herself.

It's a really good movie. Like, I really enjoyed it. And but yeah, worth watching, but again, was never really going to be a thing. She's in Road to Perdition. She's the wife who gets killed at the beginning of Road to Perdition. So, like, very, very

thankless role. We've talked about in the cut she rules probably deserved Oscar attention for that but again in the cut was never going to make it like that it was so you know so so challenging and then she's in stuff like the machinist and the jacket and um palindromes she does these weird she'll take these roles that are so

thankless and like they're extra frustrating because we want the world for Jennifer Jason Lee but she's like the woman in some of these movies like good time right right but then she'll show up and she'll give you an in the cut she'll give you a margot at the wedding she'll give you um i'm trying to think of like other ones where it's just like i mean again i bring up uh annihilation i think she's really you know she's really interesting in uh in that movie but yeah it's a lot of stuff like good time it's a lot of stuff like you know she's she'll show up and kill your darlings in something really small

She'll show up in, as I said... She's in a lot of movies that, unfortunately, you don't remember she's even in them. Yeah. You've seen Pallendromes recently. Is she a big part of that movie? Is anybody a big part of it? Oh, boy, Pallendromes. Okay, so Pallendromes.

Todd Salons is Pallendromes, yeah. Todd Salons is on one, even for Todd Salons in that movie. And that movie's his biggest failure. But the lead character, who is... a young girl is played by something like 10 different performers, including Jennifer Jason Lee. Yeah, interesting. And it's not like the character ages. How is she in it?

Is she in it much? Is she, like, in it very beautiful? She's in it towards the end. Yeah. Sort of like her in Synecdochee, where it's just like she's not in it a lot, but like, it's only because there's a billion people in this movie. She is amazing in Synecichy. And when she, like, returns and has a completely different accent where she's like, you

you know, playing that type of person who, like, goes and lives in Berlin for six months and then starts the affectation. She's his daughter? No. She is his daughter's, like, she's the friend of Catherine Keener who eventually enters into a relationship with the daughter. With the daughter. Right.

Yeah. Right. I got to watch that movie again. That movie made me so sad. And it will make me even more sad now watching it after Philips. Seymour Hoffman's death. I should also say for as much, for, I love her in annihilation, she plays a very kind of similar role in possessor. She's not in it as much, but I appreciated that. And then, of course, this year, she's in the women in the window, of course.

She's Jane Russell. She's, she's Jane Russell. Wish she had been given more to do in that. She's honestly, she is in terms of a screen time percentage is a much bigger presence in the trailer. Like, I feel like I, like, fully, like, death-dropped when she shows up in the trailer because it's just like, what's going on? And then I've, you know, talked about how bummed I am at Lise's story, which is too bad. She's supposedly in the next Lena Dunham movie. Oh, boy. Called Sharp Stick.

Her and John Bernthal and Taylor Page and Scott Spiebeman. Love Taylor Page. It's an interesting cast. Taylor Page who was currently tearing shit up in Zola. Giving what I think is so far the performance of the year. Fantastic. I can't wait to watch it. Perhaps this weekend.

All right. So anything else we want to talk about with regards to 2,000 acres before we move on to... I got through most of the stuff in my notes. We didn't talk about most of the men because why would you? But I did have a note that Kevin Anderson as

Rose's scummy husband looks like if Don Henley had a line of chia pets Kevin Anderson is the hairiest man There's a lot of hair going on It's just like, yes There's a lot of hair

On his head, on his face Probably all over his body, yes What do I know him from? A bunch of stuff I think he's... He's like a TV guy, right? Oh, he's a Steppenwolf guy Oh, okay

Yeah, so he's like he's like everywhere. All right. Yeah, I mean, my notes are basically, I did, to this movie's credit, I watched this movie

without being super distracted, which is, you know, not always an easy feat even for a good movie. So, um, I mostly just, I mostly just jotted down

that line about we're going to die angry and, uh, and Jessica Lang's Republican hair. It's, it's such a good line. I wish that that was the energy

and the vibe of the movie. Me too. All righty. Do we want to do, to move on to the IMDB game. You know what? Let's move on to the IMDB game. You guys, every week we end our episodes with the IMDB game where we challenge each other with an actor or actress

to try to guess the top four titles that IMDB says they are most known for. If any of those titles are television, voice-only performances, or non-acting credits will mention that up front. After two wrong guesses, we'll get the remaining titles release years as a clue. If that's not enough, it just becomes a free-for-all of hints, filling all thousand of these acres. Very good. All right, Chris, I'm going to give you the option of either guessing first or giving first.

How about I give first? All right. Not to get us too far into the weeds, but we didn't talk about supporting actress in this award season, which like Jennifer Jason Lee probably didn't factor into that. But anyway, notably, this year's best supporting actress winner is none other than Kim Basinger. Interesting. And we've not done Kim Basinger before, huh? We have not. All right.

Okay, Kim Basinger. Obviously, L.A. Confidential is one of them. It is. All right. Now, where in her illustrious career do we travel? Batman, the first Batman. I was kind of bracing as I clicked on her page for Batman to not be there, but indeed, Batman is there. Yeah, I wouldn't have shocked me if it wasn't there.

but I think it's good that it is there. It should be there. The iconic Vicky Vale. I'm going to take a little bit of a stab here and guess eight mile. No, no eight mile. Thank God. She is not good in eight miles. She is quite not good in eight miles.

Yeah, unfortunately. Okay. Nine and a half weeks? No, not nine and a half weeks. So you're going to get your years, your years. your years are 2004 and 1993. Oh, the door in the floor. No.

No, damn it. Damn it. I thought as soon as you said 2004, I was like, good for her, good for them. She is good in the door. She's very good in the door on the floor. All right, so what else did she make in the door on the floor? Is 2004, I dreamed of Africa, or is that to... No.

I dreamed of Africa is 2000. Is 2004 the burning plane? It is not the burning plane That is 2008 Jennifer Lawrence's debut Right All right What's the other year?

I'm going to put a pin in 04 1993 1993 Is the year before Prediporte, I'm pretty sure She is incredible in Prediporte You will always guess her First Categories

Because of Prediportet Um 93, be the getaway? No. 1999, I will say, is probably the hardest thing to get on here, but it is the coolest thing on here. But not Cool World, because that was 90.

It's not Cool World. That would not be the coolest thing on here. Cool World is a movie where Gabriel Byrne fucks an animated Kim Basinger into corporal reality. And also, like, isn't the whole thing that, like, he, like, drew her didn't he like create yeah so like he's sort of fucking his like cartoon daughter a little bit yeah yes and in order to make her a real person they have to have sex I'll say this though Brad Pitt's stupid fucking hot in that movie like is the thing all right 1993 is a sequel though

oh oh god it's Wayne's World 2 it's Wayne's World 2 that's amazing where she goes, Garth, can I be frank? And he goes, okay, can I still be Garth? That's so funny. Oh, boy. Stupid. All right. Okay, so 2004.

2004 was actually a hit movie, and she is first build in it. Hit movie, first build. But there's like the next two build stars who are both men are like huge stars right now. Oh. they weren't them No Are they younger than her One of them definitely is

I don't know about the other one But we'll say probably Okay They weren't stars in 2004 They weren't huge stars in 2004 But they are now The one who's like the huge huge star Is like when he blew up

In the franchise that he is known for. People who are like, you know what movie he's really good in? This. Oh, fuck. Is it a Hugh Jackman? No. But he blew up in a franchise. Both of these guys are action stars. The other one, not the one I was talking about, is like the type of action star who all of their movies are basically indistinguishable from each other. And when people go, they go to just see him in a movie. Statham. Yes. Oh. Okay. Kim Basinger, Jason Statham.

And then this other person is the one where people are always talking about that this is his good movie. I mean, not always, but like when he blew up playing the character he's famous for playing, they were like, you know what, he's good in this movie. The title is almost a punchline. This is probably not a movie that would be made after, like, literally 2004. It's not Robert Downey Jr. No, but you're close. It is someone in the MCU.

Someone in the MCU. An Avenger? Yes. Chris Evans. Oh, cellular? It is cellular. Jason Statham is in Cellular. I didn't know that.

Jason Statham is the top face on the poster to Cellular. No kidding. I've never seen it. Who directed Cellular? Oh. Anyone? David R. Ellis. No, no idea.

Interesting that that is one of her known for. All right. Good then. That's a really... That's an eclectic... That's an eclectic group of films. All right, good for you, Kim Basinger. All right.

Chris, for you, I, as I so often do, went down the path of the director, in this case, our beloved Jocelyn Morehouse, who, as I mentioned, we did how to make an American quilt. in one of our earlier episodes. She's only directed a small handful of movies. After 1,000 Acres, she went away for quite a while, and then came back in 2015 with a film. I don't know if it was even released in 2015. It might have come out.

Stateside, you're talking the dressmaker, right? I am talking about the dressmaker, a film that I have not seen. But my friend Kate Arthur at the Toronto Film Festival described the plot of this film to me, and I, had I been wearing a wig, Republican or otherwise, it would have been on the floor. It would have flown off of my body. Okay, anyway. We should do this movie.

We definitely should. Kate Winslet is in it. Liam Hemsworth is in it. But the person that I am going to give you to guess is a two-time, I believe, Oscar nominee, Judy Davis. Oh, Judy Davis. I thought, who's the young actress in that movie? That's who I thought you were going to. I think Kate Winslet is the young actress in that movie

No, I think there's like a Margot, not Margot Robbie. Hold on. But like a Margo Robbie. Carrie Fox is in that movie. I think the young person in that movie is Liam Hemsworth. Like I think that's sort of the gag there. Yeah, but there's a, there's someone like that in that movie. Well, we will have to.

Do it on a podcast. We'll have to find out when we do this movie. Yes. All right. But Judy Davis is yours. There is no television and no voice performance. Sorry Betty versus Joan. Sorry Judy Garland to me in my shadows.

No, the Judy Garland one. That's home. I love how when Merrill Streep wins her Emmy Award for Angels in America, one of her. She calls it just the Judy Davis story. She calls it the Judy Garland story. But because she was nominated against Judy Davis for something that wasn't that. That was something else been in. Right. And Judy Davis does a ton of TV.

Yeah. But not in this case. Not in the IMDVs. Okay. There's got to be some Woody Allen in there. Probably husbands and wives because she almost won. Yes. Husbands and wives.

She was kind of a front runner for the Oscar that Marissa Tomei won that year. That was also the one where Jack Pounce is reading the nominees and his little banter in front. He says this is the first ever time that all five nominees for Best Supporting Actress are not American. Or no, he says, are foreign actress are from foreign countries.

He says, four of them are from England and one is from Brooklyn. And that's the gag. It's like, ha, ha, ha, she's Brooklyn. But of course, Judy Davis is not from England. Judy Davis is Australian. And you can see her face in the reaction shot to that joke where he's just like, no, I'm not. It's so funny.

And then she goes and loses, oh, the indignity. Oh, the indignity to Gigi Davis. All right. Yes, husbands and wives is one of them. The ref. No, even though it's her best performance. Damn, justice for the ref. She fucking rules in that movie.

Great off-kiltre Christmas movie. If you're ever in a mood to watch a Christmas movie that doesn't feel like the normal Christmas fair, watch the ref. It is very funny. Glennis Johns plays a, and I know Kevin Spacey's in it, whatever, grain of salt. But, like, Glynis Johns plays the, like, most horrid, like, mother character ever. Christine Bransky's also in it. There's a lot of sugar to make the Kevin Spacey pill go down in that film. So you're fine.

Interesting. Anyway, not the ref. Okay. I'm a little thrown by No TV. Yeah. Maybe it's another... I don't think Naked Lunch is in there. That's, like, a kind of a forgotten.

Kronenberg movie though she did get like I think she won like critics prizes for that and husbands and wives maybe no she won nope this is in there she won critics prizes for naked lunch and Barton Fink Barton Fink has to be in there Barton Fink is indeed in there very good

good recall um yeah what were her Oh, a Best Picture winner, Passage to India. No, that's her other Oscar nomination, by the way, is a passage to India. She's nominated for Best Actress, but that is not one of her known for. I will give you the years as soon as I look up and see, yes, she was the New York Film Critics Circle Award winner for both Barton Fink and Naked Lunch, as you said, for the year 1991. And that was her big one, yes.

Sorry. Anyway, your years for your missing two films are 2015 and 1991. So I feel like this is over. So it's Naked Lunch. It is Naked Lunch. It is Naked Lunch. And The Dressmaker, exactly.

She's a lot of fun in the Dressmaker. I would not. Oh, so you have seen The Dressmaker. Oh, yeah. It's a fun movie. Okay. We should definitely do it soon. Yeah, I don't think I would have guessed her for IMDB game for The Dressmaker, even though that was my portal.

into this. I just feel like nobody really talks about that movie or talks about her in that movie. I would have guessed probably Miller's... She's in Millish Crossing? Or is that one the one that she's very briefly? Yeah. I think... Because obviously, Marsha Gayloran's in that one,

because she was nominated for that, right? No, she was nominated for Mississippi Burning. Yeah, no, Judy Davis is not in Millish Crossing. I was probably maybe just thinking of Barton thing. But she rules in like Marianne Twinnett, you know? She's really fantastic in that. What else is she in? Obviously, like other Woody Allen movies, Deconstructing Harry, being one of them.

Yeah, you're right. A lot of television, though. She was in the TV movie that I always bring up, which she played Lillian Hellman in Dash and Lily, the I believe Showtime TV movie with her and Sam Shepard playing Lillian Helman and Dashel Hammett, directed by Kathy Bates, and I always remember it, just by. because it was, like, a Golden Globe nominee. And, like, when I watch old Golden Globe clips, it'll be, like, Judy Davis for Dash and Lily.

But also, there's a Netflix show now, the teen drama called Dash and Lily. And I'm the only person who was, like, oh, like, Judy Davis and Sam Shepard, and, like, crickets. Just full crickets whenever I pull out that line. They don't appreciate the genius of that reference. Fine.

Anyway, good job. Good job with that IMDP game. Fantastic. I think that's it. I think that's all for this episode. If you want more of this at Oscar Buzz, you can check out the Tumblr at this had oscarbuzz.com. You should also follow our Twitter account at had underscore Oscar underscore Buzz. I will say, I don't say it enough and I should.

Chris's work in doling out teases at the beginning of every month to what four movies we're going to be doing in a month have gotten progressively more and more unhinged in a way that I find. So far July is like the least correctly guess. You have stumped, I don't know whether it's, we've got a, like, majority gay audience and everybody, like, prided themselves into a serotonin coma or something, but, like, truly, uh, nobody knows which weighs up with those hints. And I love it that way. Also, if you know what they are, like, I, I just laugh my ass off every time you put them up because I'm just like, this is fully insane. And I love it. Um, it's fun to play along with. We have, we have, we have our fun. Uh, had, had underscore Oscar underscore bus. All right. Anyway. Chris, besides Manning our podcast Twitter account, where can the listeners find you in your stuff? You can find me on Twitter and letterboxed at Chris V-File. That is F-E-I-L. Yes, you can. I am also on Twitter. I am there at Joe Reed, Reed spelled R-E-I-D. I'm also on letterboxed, spelled the exact same way. We would like to thank Kyle Cummings for his fantastic artwork and Dave Gonzalez and Gavin Mavius for their technical guidance. please remember to rate, like, and review us on the Spotify, Apple Podcasts, Boo, Apple Podcasts, whatever, writing the hand the feeds.

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