This Had Oscar Buzz - 393 – C’Mon C’Mon

Episode Date: June 22, 2026

On deck this week is a sentimental recent fav, Mike Mills’ beautiful black-and-white tribute to modern day youngsters and the state of mind that is “uncle.” C’Mon C’Mon casts Joaquin Phoenix as a radio journalist who takes in his sister’s kid when she has to handle the father’s mental health crisis. With Gaby Hoffman and Scoot McNairy … Continue reading "393 – C’Mon C’Mon"

No, the right house. I didn't get that! I'm from Canada water. I'm from Canada water. Dick poop. Over the years, you will try to make sense of that happy, sad, full, always shifting life you're in. And when the time comes to return to a star, it may be hard to say goodbye to that strangely beautiful world. Damn this book.

You're crying. No, I'm not. Yes, you are. Hello and welcome to the This Had Oscar Buzz podcast, the only podcast starting a socialist polycule in the Sherwood Forest. Every week on this head 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, Chris Fyle, and I'm here, as always, with my Gen Z interrogator Joe Reed. Man, that's complimentary in a few ways.

You know what my favorite thing about doing this episode and one of my favorite things about this movie is, it forces you to sit with the thoughts of Gen Z and Gen. Well, it's much more, it's much closer, I suppose, to Gen Alpha than Gen Z, but yes. Some of those teens, some of those teens are. But they're before they get to the part where they're annoying, which is like. kind of lovely. So, um, I love it.

No, it's great. I love that kind of stuff. I love the kind of thing where you're getting these, you know, unvarnished thoughts from these sort of pure souls.

It is authentically the best thing about the movie, I think. I love when it kind of strays into this almost non-fiction thing because all of these, these kids that they're interviewing, those are real like, yeah,

interviews that are happening. You know, it's not scripted dialogue by these, you know, actors or non-actors. Yeah, yeah, yeah, yeah. And of course, I'm sure, you know, in the edit, some of it is selective, you know, to ultimately make kind of the point of the movie. It's all very positive and optimistic about the future. It did remind me of some of my favorite parts of John Mullaney and the Sack Lunch Punch. And I think one of the girls who they interview is one of the girls from the Sack Launch Bunch Bunch, although I couldn't figure out particularly who.

But there are interludes in that that also are just sort of like, we're just talking to these kids and we're interested in what they're saying and that kind of a thing. And I found it to be very charming. And also in this case, very much of a piece. with what Mike Mills has been doing in his other films, which... Yes, yes. With a pit stop to the WNYC Studios.

Right, right. Because it does feel very filtered through that. A lot of this movie is also like, well, Mike Mills just wants to be a WNYC reporter, really, at the end of the day. Yeah, I mean, I suppose we could say that. Although, gosh, I would hate if he stopped. making films entirely because... Well, and he usually takes a decent

amount of time between movies. So I think we're getting close to being due for one. Yep, yep. Hopefully so. We are at five years now since Come On, Come On, which was the interlude between 20th century women, and Come on, come on.

So, yeah, we are getting to that point. I kind of feel like this would even be more well... I mean, not to say that this movie wasn't well-received, It just didn't really make a ton of waves. Right. You know, it's such a minor key movie, and I think rewatching it really underlined that for me, that I don't know.

This movie definitely has its ardent fans. I just don't know. It was kind of the exact thing we needed coming out of COVID, because this is another Omicron movie we're talking about. Yes. But also, we were probably not well set up to receive it, because there's a lot. lot of, when I see kind of complaints or holdouts on this movie, a lot of it revolves around not much happening, it being a little too laid back of a movie. And I understand where those type of complaints are coming from, because I'm not someone who can get all the way

with this movie, though I respect it a lot. Yeah. But I appreciate that the, you know, tone that it strikes, the kind of lack of plot mechanics. and things that are happening. Yeah. Really make... Not to use internet speak, but make a lot of space for the audience to just kind of sit with what all of these children are saying

in the themes of the movie in this really, you know, patient box. Those are two weird words to string together, but this weird patient box of a movie, you know. I love when I go to the doctor and I have to fill out the patient box every single time. But you know what I need to be, like, patience and just like very, not, none of that is to say, like, lay, I don't think laid back is right, because I feel like the pacing, the structure of this movie is incredibly deliberate. Yes. It just, you know, you sit with this movie, and you can kind of feel it lowering your blood pressure as you watch it in a way.

Yeah. Which I don't necessarily think is a bad thing. I reacted to this movie very differently in 2021 than I did now, and you're going to laugh at me when I talk about, you know, my reaction to it now. You're much more settled into being an uncle now, so of course you have that as well. But, like, I don't think that should necessarily, like, discount my, you know, feelings about the movie now and sort of the way that I'm able to better appreciate it, because I do feel like, in 2021, I was somewhat nonplussed, or at least like, coming from how much I loved

20th century women and how much that movie moved me, immediately, that I was looking forward to come on, come on, even with the caveat that, like, you know, Joaquin Phoenix is not one of my favorite actors. But I, like, have been known to enjoy him in certain things. And this is definitely one of them even at the time. I remember, like, you know, I very much liked his performance in that. But I felt like I was sort of yearning for a little bit more than what it was giving me at the time. And yes, now watching it as, and whatever. content warning throughout the rest of this episode. I'm going to, at times, sound like the first person ever to be an uncle.

That's a gay guy disease, by the way, if we weren't clear, because I've certainly had that disease before. All gay guys being uncles, especially gay guys who don't want to have children. Right. But we have a special place and a special privilege. No one knows what this is. Blanket apology for that, and you can go with me on this journey, or you can, you know, side-eye me and whatever. That is a reader's choice, or listener's choice.

But watching this movie now that I have, you know, my nephew is five-ish, coming up on six. and I tend to not like to speak specifically about my nephew on this podcast because I don't like it. I don't like the vibes I get when I see other people's other podcasters or public figures have their family members as like part of the pariscial. Characters on the show. Yeah, a little bit. No, we, I mean, he's not my kid. I don't want to sign him up for any. kind of weird, you know, internetness.

Yeah, don't get weird when we talk about, like, family members on the show. You're here to consume the two of us, please. Let's not make them into, like, lore. No, I get where you're coming from, and I do the same. It's one of the reasons I don't get too specific. Yeah. But watching this now, like, obviously, and like, the kid in, come on, come on, Jesse, is nine. So it's not quite that, but it's certainly a hell of a lot closer.

to what my relationship is with my nephew now. And obviously, that's impacted by, like, the relationship between Joaquin Phoenix and Gabby Hoffman's characters in this movie, who are sort of, you know, working their way back to having a relationship with each other. Obviously, Jesse being nine is a lot more sort of, like, verbal and articulate about, you know, feelings, even in this very sort of like inarticulate nine-year-old way, there's a way that like kids that age can be, you know, remarkably articulate. I think that's what you're getting from a lot of those interview segments. But there's so many things I can catch in this movie now,

so many truths that I can catch in this movie, that I didn't realize were there sort of back at the time. The way that like you'd be, you'd be shocked. I would be shocked if you had told me to, years ago, but, like, the degree to which you can have your feelings hurt by a five-year-old is wild. That's not wild to me, but because, like, yes, I can have my feelings hurt by anyone, thank you very much, especially children who it's like, you're like, please just approve of me.

Well, and it's just, please just endorse me. And even in the moment, you're sort of angry at yourself, because it's just like, why, why am I, why are my feelings hurt by his child? You know what I mean? I should be, you know, the bigger person here, but it's a very specific thing. And the other thing, which is that, like, you have this bond with this kid, especially if you, like, watch him, you know, during the day sometimes or, you know, you're babysitting overnight and stuff like that, which is just, again, first person to ever be an uncle, first person ever babysit for their nephew. there's a that that bond you form is so is such a major part of your life and yet also um you do have to you know accept and embrace the fact that like this is not your kid like this is

you know yeah i mean i think that's one of the smart subtleties of the movie is because i've also seen people complain about Gabby Hoffman having the more interesting story. Why is this movie not about her, the parent? But I think the movie kind of wants to you know, in a very subtle way, underscore the differences between parentage and, you know, having a responsibility to a child that's not necessarily yours. Having positive relationships with children, even if you yourself

don't have children or want to have children. Right, right. Those are important things that this movie is also about. Also, that's not what this movie. You know, if you want a movie about, there are movies about, you know, mothers of children, you know, go watch that. This is a movie about something else. And and

I don't know, I just, I, it's not that like, this movie's a better movie now because I can see myself in it so much as Mike Mills is a filmmaker and Mike Mills is a storyteller really depends on, you know,

dozens of very small moments of micro-truths and connections and sort of like ways in which he sort of invites you into a story. He's also a filmmaker, and I wrote this down in my notes, and I don't, you know, we may end up talking about it more later. He's a filmmaker who sort of like comments, he comments on the film as he's making it, which oftentimes might annoy me. Sometimes I talk about a movie existing in like quotation marks. Mike Mills doesn't quite do that, but like if you look at like beginners and 20th century women and come on, come on, and there are parts of the movie where the main character will, you know, sort of like provide running commentary on like what's going on from within the, you know, it's appeared to the movie. and that kind of stuff hit me more and come on, come on now.

Because I just like, I don't know, I know more things now. You know what I mean? Like, I can find more ways to connect to this movie. And if broadly, too, like, we're just in a better place to kind of receive what this movie's trying to give us. I think when it first came out, it was almost, you know, it's almost so delicate, like that it's easy to kind of. of not sit with it. We had a lot going on. Yeah.

The movie first came out. And I say that not thinking that this watch, that I love it so much more, but just that I think, you know, we're better positioned to get on this movie's wavelength. I think for me, in relation to other Mike Mills movies, this one is doing one thing very specific and is ambitious in a way that it's like, you know, it takes place in multiple cities. So it's like you also have to understand like, or he's at least trying to capture the different vibe of, you know, different places that you can live. And yet all different types of children who grow up in different environments in like completely different worlds almost can still have these real truths that we can learn from. Yeah. That feels somewhat ambitious, but I do think that this feels like Mike Mills scaling back, whereas one of the things I love about 20th century women, and you could say it to a lesser

degree for beginners, but I think is true of beginners, that there is this kind of ambition in all of the many things it's trying to do. I agree with that. I agree with that. I agree with different people it's trying to understand. Yeah. And, like, I appreciate the accomplishment of that, along with, like, what those movies make me think about and what they make me feel, whereas this one seems

much more dialed back and focused on the very specific thing it's trying to do. And that thing we should say is like, it's not, you don't really see movies about what this thing is about, especially today. If Come On, Come On, and 20th century women, if Come on, Come on had existed before beginners, if the order of movies that he had made was Come on, Come on, and then Beginners, and then 20th century women. I feel like it would feel more like a progression, like a logical progression in terms of scope and scale. Because I think you're right.

I think there is a thing that 20th century women does, which, where it draws all of these very different and very well-observed relationships with characters. You know, Benning has a very different relationship with like all of the different people in that movie from, you know, her son to Al Fanning, to Greta Gerwig, to Billy Crudeup. And everybody else in that little, you know, thrown together, you know, urban commune or whatever, has their own distinct relationship to each other.

And he's able to stitch all that together and tell something bigger. And it's definitely the scope of that is more impressive than, you know, something like, come on, come on. which doesn't try and fail to do something like that. It just sort of, like you say, it scales back. It, you know, is telling something, is telling a story that is smaller. Yeah, I appreciate and think this movie is good more than I sit back and I love this movie. I will say, this is the mode that I love Joaquin Phoenix in.

It's a really good Joaquin Phoenix performance. It's definitely one of my favorites. Yeah, it's something like this. It's like her. Yeah. Ladies and gentlemen, her. Yeah, I agree with that. And I also am incredibly impressed with Gabby Hoffman's performance in this,

but also, like, I walked away from this being like, oh, Woody Norman from an era where, like, there was a handful of little kids sort of making, you know, having their little moment to shine. there was the who's the kid from Sacred Deer who was also in

mid-90s? Do you know who I'm talking about, though? Obviously you know who I'm talking about. Hold on, I'll look it up. Sunny something, right? And like, obviously Jacob Tromblay was also existing in this

Sunny Sulic I believe we're just going to pretend that Jay is silent He was in Killing of a Sacred Deer He was in I do believe mid-90s Yes House with a Clock in its walls Anywho I love House with a Clock in its walls

I've never seen House with Clock in its walls Fucky layer off but Oh I've never seen it Is it worth it has a queer read you could give to that movie Oh that's interesting okay But it also just felt like this kind of of imaginative kids' movie that we don't get those anymore.

We just keep regurgitating IP at children and limiting their imagination rather than expanding it. Yeah. That'll be my rant about how we're raising our kids these days as someone who is childless. Woody Norman in this movie, though, my

basic, dumb thing that impresses me that does not perhaps speak well of me, that I find impressive, is we don't really see children doing dialects that are not their own in their movie, and you would never not believe

that this isn't an American child. That is true. Watching this movie. That is true. He does a very... That's... And well put that, like, you don't ever really have cause

to compliment kids like this. But yeah, no, he's... You also just, like, don't think, of, and maybe this is, you know, unfair of how we consider child performers, but you don't think of that type of craft when you think about children. And of course, like, you know, this is, you know, a different conversation that, like, many movies have had where it's like, is it performance or are you just creating circumstances where you are able to capture a child being a child on screen in certain ways and producing reactions that you can make a narrative of in the editing room. Right. That doesn't feel like this, but it's also, it's an incredibly naturalistic child performance who is. Who's definitely performing. Yeah.

Who is definitely performing, and you have that, you have dialect to kind of hang on to prove that, you know. Excellent point. Interesting. I was trying to think of examples that we could think of of child performances where they are not performing in their normal dialect. Obviously, I thought of atonement for Sersha. Yes. Yes. And I couldn't really come up with more.

I'm sure there's plenty of American children doing bad British dialects. Yes, yes. But yeah, that's, I wish I had more time now to, like, dig through. But, like, that's an excellent observation. But yeah, I think I do end up really, you know, kind of loving this movie now. and will, you know, be far more free in evangelizing it than it perhaps wasn't, and all the more rabid now waiting for Mike Mills to, you know, decide to make another movie again. This is maybe me being a little NPR-brained, a little W-NYC studios-brained.

It did kind of make me wish, like, whatever Joaquin Phoenix is what story he's creating investigating interviewing all these children I'm almost like I would probably get something more substantive over that being a real thing and being able to listen

to whatever that series was than this movie but like I have nothing really negative to say about this movie I will say the fact that he is a podcaster ended up annoyed people annoyed a lot of people to a degree where, like, I do often think that people feel too many feelings about the existence of podcasters.

There's a couple of strata of it. There are the people who are podcasters, who carry a lot of shame with that, and, you know, sort of always talk about podcasts as if they are scourge on the earth, as they are podcasting. You know what I mean? There's a lot of podcasts in the world. Okay. There's a lot of people in the world.

I mean, we're a hangout podcast, and I have no qualms about that. But, like, you know, he's not Brittany Browski in this movie. He's this American life, you know? And, like, I don't think the movie pulls any kind of punches about that. I think some people had took issue with the supposed limitations of this movie, and I'm like, but that's, it's a real portrait of who those people are, you know. No, I think it's realistic. You know, it's not trying to pretend to be something it isn't.

Working in media more and more, you know, this is a part of that. You know what I mean? Sure. Like, yeah, we could have made him a, you know, flower shop owner. You know what I mean? It's just like, it's a job as much as anything. But, like, it does fascinate me how much that term, that profession triggers people. genuinely feel, you know, it like sets them off in a way that I find a little performative.

Especially in the age of TikTok. Like, if you want to say like, ugh, TikToker, that's a little, that's, that's more. Although I would watch the shit out of a movie that, like, really examined the, like, you know, dark psychology of a TikTok. Those movies do exist. Those movies exist. Like, they're playing festivals left and right. Yeah.

You know, I would rather sit with a This American Life movie. I would rather sit with the Radio Lap movie. Sure, sure. That's fair. That's fair. I think maybe a lot of people making those complaints probably don't listen to this American life, so I'm, I guess, of a rarefied order. See, I think it's the opposite.

I think it's people who do listen to this American life and are a little bit ashamed of seeing that sort of put on a, you know, movie screen in some way. I think there is a lot of, you know, people who listen to podcasts who think they should be watching the news. You know what I mean? Or like, you know, reading a book or something like that. And it's just like, folks. There are highs and lows in all art forms, whether it's podcasting, whether it's

TikTok, checking myself here. Yeah. Whether it's news, there are highs and lows of all culture. Yeah. But anyway, yeah, I really do love when we revisit a movie for this podcast, and I end up liking it quite a bit more than the first time. I didn't remember you not liking this movie. I kind of thought because you were like, let's do this one. I wanted to love this movie at the time.

I thought it was because you wanted to do one that weed. Yeah. I felt the gulf between what I wanted to feel about the movie the first time I saw it and what I actually felt, which was like, you know, admiration, appreciation. I think if you revisit whatever when I was on the Blankies that year, this probably didn't come up on my Blankies ballot, you know, too much. My year-end sort of best of. And now I think I would probably feel differently, but who knows? We'll see.

It is going to be in the Mike Mills box set coming from Criterion. That's right. Dust to Thumb Sucker, I guess. I don't know why Thumb Sucker is on. is an underrated movie. Thumb sucker's a good movie. Or at least, like, a good movie in the context of, like, a filmmaker who was building something. You know what I mean? See, it definitely seems on its surface, like one of a million movies that we had in that era of the aughts. It was. Like Garden State. And I remember revisiting it, and it's been a few years now, maybe I rewatched it for when this movie was coming out. And I remember liking it way more of the... than I expected to.

I just remember even among that sea of like very similar themed or like similar seeming movies, that that was one I remembered as being like, oh, I actually like I like that movie more than I liked, you know, Chum Scrubber or, you know. Yeah, better than the same that some of those movies carry. Yeah, yeah, yeah. It's a cut above the rest of those movies. Yeah, I definitely think all of his other movies are much more ambitious. Oh, for sure.

Yeah. You know, but it's no it's no demerit on that movie to say that it's Mike Mills's weekend movie. It's the least like his other movies is the other thing too. I think the other movies really coalesce around each other. I somewhat infamously don't care for beginners as much, even when I tried to watch it a second time. But that's fine.

But I think definitely you can see the stylistic and narrative similarities of that movie with 20th century and with Come On, Come On, Come On, Much More. The way that Mike Mills uses montage is always very, like, I think emotional, or maybe I just have a very emotional effect when I watch, like, montages within 20th century women. But I do think it's there in beginners. it's just like sometimes it may or may not hit for you. Yeah. I kind of question if there's nothing in 20th century women that hits for you.

I maybe don't need to hear anything you have to say about any other movies. But that's just me. Yeah. Listen, we can make these qualitative judgments. I don't disagree. But I'm excited to get into it. And you mentioned it's an Omicron movie. And I do feel like we've been talking.

about that more and more, that semi-dark little era where, as I have said on this podcast and other podcasts, felt like it was almost more psychologically damaging in a way where it was just like, ah, bitch you thought,

bitch you thought we would get back to normal, it'll never be normal again. I also think when we were approaching some of these movies, we had just such high expectation, like we had unfulfivable you know, not ambition, but like the mark was so high. Yeah.

Because our need was so high that like nothing could kind of satisfy people. And I think, you know, this is one of those movies that really struggled at the box office at that time. It made $1.8 million and it, you know, did better in its limited release. And then as soon as they try to go wide with it, the movie's dead. Much like many movies in this time. And I think it's just because not only was the infrastructure. sure so challenging to just get awareness of a movie out there. But then even those of us who are aware of movies and, you know, follow it very closely,

we're very quick to get back to the theaters when we safely could. Yeah. It's still, I think those people probably had even higher expectations on what they wanted out of the movies after being kind of denied it so long. Yeah. that like I think there's probably a number of those movies that we would like, come on, come on, be more ready to meet at its own level. Yeah, I think that's right. I think it's just, you know, there was a lot going on.

There was a lot leaning on these movies. There was a lot pressing on these movies. And, you know, for better or worse. And something in a more minor key had a hard time. We wanted movies to feel like these beefy, you know, we wanted to watch our capital end movie, you know, and when something is interested in something more nuanced than spectacle or plot mechanics, you know, it's... So how do we square that with Coda winning Best Picture this year? I think that's a movie that made people have, like, big feelings, though, you know? Yeah.

It did not resonate with me. I kind of felt like that's a movie. we'd seen many, many times before and better, but like it is a movie that did get people to cry and did get people to relate to it. Yeah. It sometimes

feels like... It's not that it didn't happen, but it sometimes feels hard to revisit that moment, you know, that it was becoming clearer and clearer that Coda was going to end up winning Best Picture.

And nobody, I knew was a fan of it. You know, there were people who were more or less vehement about their, you know, being pissed off at it. But I don't think I ever really talked to anybody who, like, actively and, like, loved Coda. It's also odd that we came out of COVID and we gave best picture to something that had the same first syllable and was, like, an acronym.

But, you know, whatever. That's a minor, that's a minor quibble. I also... I think the questioning of remembering that Coda happened, I think so much of that weight is carried by the Apple TV plus of it. Yeah, I think that's fair. Well, and also that it debuted at a Sundance that was sparsely attended. No, it was entirely virtual. Oh, that was entirely...

Okay, then even more so, then yeah, yeah, yeah, yeah. Yeah. Yeah. Which also then, yeah, plays into, you know, the fact that it's, you know, the first Sundance movie to ever win Best Picture. And it's like, but it wasn't even like this sort of ground swell, you know, Sundance thing. People are talking about it at the parties. People are talking about it in line. Yeah.

A very odd year. We should talk more about that on the other end of the plot description. We can get into it. We've been here a half hour already. There is a law that we can't get into the plot description until a half hour. Those are the regulations, yeah. Last week for, well, I guess recorded a week ago, for BFG, didn't we get like an hour? It was a while, it was a while, Chris.

There was a lot going on. Yeah, we did not want to talk about the plot specifics of the BFG. I would argue that, come on, come on, has more plot specifics than the BFG. It's the BFG's problem. I was going to say. Come on, come on's problem. All right. Well, then should I make the pitch for the Patreon and then we can set the table?

Let's do it. Let's do it. Joe, tell the listeners about our Patreon. Well, we have a Patreon. We've had it for quite a while. It's called This Had Oscar Buzz, Turbulent Brilliant. It costs you a mere $5 a month. And with that, you get two bonus episodes per month.

Full-length bonus episodes. per month. The one we recorded just yesterday was a three-hour five-course meal of an episode. So, like, we are not skimping on these things. As I said, two episodes a month. The first one drops on the first Friday of every month. That is what we call an exceptions episode, which is we talk about a movie much in the same manner as we do on regular This Had Oscar Buzz. Only the movie that we're talking about, we couldn't talk about on Flagship This Had Oscar Buzz because it's, got an Oscar nomination or two, despite having the same general vibe of great Oscar expectations and disappointing results. Earlier this month, we talked about a SAG Ensemble Award winner, The Birdcage for Pride.

We got into the Goldman, Coleman of it all on our episode, On the Birdcage, a wonderful movie by Mike Just how much of an insensitive cow Bessie Jackson is or isn't. That's right. Someone has to love Diane Weist the best. And it's us. And it's us, yes. For the deep, deep bench of previous exceptions episodes that we have is truly formidable. Most recently, we've done movies like The Black Dahlia and the American President and Drive and when Harry met Sally.

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talk about some aspect of our Oscar psychosis that we are particularly fond of, whether that's old entertainment weekly fall movie previews, old Hollywood Reporter roundtables, we watch old award shows coming soon. It's still ahead of us, right, at this point? We will be talking. No, it's already happened. Oh, okay. It's already there. Enjoy the... Waiting for you. Three hours of discussion. The aforementioned three-hour five-course meal on the 1987 Academy Awards. It was not the discussion I thought we were going to have,

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I did not realize he was the host. Yeah. Horrible. Yeah. Awful. So anyway, $5 a month

gets you all of that and, in my humble opinion, it's a great bargain. So to sign up for This Had Oscar Buzz Turbulance, you can go to our Patreon page

at patreon.com slash this had Oscar Bose. Joe. Come on, come on. Come on. Both times I watched this movie. It took getting to the end. First of all, I'm like, oh, so Mike Mills

tributing Cheryl Crow albums. Unexpected, but here we are. Sure. No. You know, it just sounds like a cool title type of thing, but no, it's actually intentional because of Willie Norman's monologue at the end of constantly hearing, come on,

come on, come on, come on. Yeah. The movie is titled after parents kind of bossing their children around. Yeah. In a way that could be interpreted as something else. I find that very meaningful. Yeah. Come on, come on.

Come on. Written and directed by Mike Mills, starring Joaquin Phoenix, Willie Norman, Gabby Hoffman, Scoot McNary. Yes, Woody Norman. And Djibuki Young White, for like a scene. So cute, so handsome, Djibuki Young White. Scoot is basically, Scoot is almost like fully,

because you never really see much of Scoot. Scoot almost exists as kind of like a flashback character. A little bit, he never seems to exist. He never exists in the present. He only, we only ever see him in, in montage. Either montage or a flashback, or like a scene where like Gabby Hopper.

Hoffman is voicing over a conversation that they had earlier that day or something like that. He's never there in the present moment. I would love for Scoot to get more of a showcase role in a different Mike Mills film. Because I love Scoot. And Scoot feels like perfectly aligned to Mills's whole deal. That's a great point. Yes, absolutely. You want to say more for Scoot, but Scoot works quite a bit.

Scoot works a lot, but Scoot doesn't have a lot of lead roles. Obviously, if you watch the television series, Halt and Catch Fire, you know, that he can, you know, do quite well as a lead. Excellent program. Excellent program. Yes. One, I don't, I don't have occasion to think about enough, which is too bad, because, like, I feel like we should be talking about it more. I also feel the same way about another McKenzie Davis show, Station 11, which I thought about the other day. and had to go and watch a scene from the finale of that episode again. Station 11, you know, at the time, because it was a COVID show, that, you know, I think some people kept at arm's length or didn't watch it all because it felt like, too close to home. Yeah. And now I kind of feel like it's a little cursed that it's a COVID show because I think that in, like, history, and remembrance of that show

ultimately just kind of buries it. Yes. You know? Like, not buries it like it was just in the COVID heap, but just like, it's so intrinsically tied to COVID that there's no other thing for it to latch on to for people to, like, catch up to it. Which is too bad because I feel like for as much as that show

does, you know, it describes a, you know, a flu-like plague that, you know, that sweeps across North America and whatnot. It's not a show that should give you COVID PTSD. Like, I think you can watch it now. There's an episode, I think, that might, but beyond that. But beyond that, no, it really becomes, you know, very much its own thing. It's also one of those TV adaptations that changes quite a bit.

from the source novel and preserves both of those things as two very different and yet, I would say, equally valuable things. You can read the book and you can watch the TV show, and they both end up telling two similar but, like, ultimately different stories, and in a way that, like, feels very satisfying for both. Love that show. Anyway. I agree. Yeah. Come on, on premiered at Telluride, which they were able to make happen in 2021, then played the spotlight section of New York Film Festival, the spotlight section, which is usually reserved for more populist titles. It's not their main selection or...

Populous titles are like, we feel like we have to play this, but we don't endorse it, like when they played Amelia Perez in that section. This was where I saw Come on, Come on, was I was back in New York by this point. my little year and a half, maybe I can still make this happen, back in New York era, and I saw, I was at liberty to see a lot of New York Film Festival that year, because I lived about 20 blocks south of Lincoln Center, and it was great. Beautiful. It was so lovely. What was the, how would you describe the crowd response?

To come on, come on, specifically? Yes. A little bit like how I described it, which was like, I think people were like, yeah, that was good. You know what I mean? Like that kind of thing. A couple of people I know really loved it. And I definitely remember there being some sort of like grousing. But that really came, I think, a little bit after.

I think in the moment, I don't recall having like conversations about it immediately after. But I think people were okay. I think people were like positive, respectful, positive on it kind of thing. Yeah. Then it opened in its limited release, November 19th, 2021, and then tried to go wide-ish, about 500 to 600 screens, the weekend after Thanksgiving, which is about the time that Omicron really becomes the thing that we're talking about. And we're like, nope, you have to be back inside for the Christmas window.

then everyone went to Spider-Man and gave each other Omicron. The opening box office weekend, number one, a shutter went down my spine. Ghostbusters afterlife, yeah. Yeah. Then number two, you have the third week of Eternals. Yes. Third place was Clifford the Big Red Dog. I remember that movie was supposed to play.

was it the even the 2020 TIF? Yes. And then it got pulled and then kind of was in no man's land for a while and then people ended up

really liking it. I also remember the behind the scenes photo with the giant you know, model, weird looking thing that they used to

CTI clippered into the scene. This is a movie. Never saw the movie. This is peak doesn't exist movie. Like that to me feels like a mirage. Just the whole movie

feels like a giant mirage. Oh, I kind of feel that way about Ghostbusters afterlife too because that made a decent amount of money. Everyone hated it, but like no one talks about those Ghostbuster sequels anymore with the kids.

Nobody talks about those. I think people still talk about them not liking them. I think that. Maybe that's why those movies are kind of scrubbed. Fourth place, the first weekend of King Richard making $5.4 million. That was one of those things where I felt like people didn't know

whether to say it was another box office disappointment or if they were willing to chalk that up to it also being available on HBO Max at that time. That's right, because this was still when HBO Max was doing their everything that we release is going to be day and date on HBO Max. Every Warner Brothers release is going to be day and date on HBO Max. That disastrous, one of many, one of many decisions that precipitated the demise of Warner Brothers, the once proud studio. Well, and Dune, which was in fifth place, scraped by a hundred million dollar gross,

even though being available on that platform. Yeah. Dune, I think, is kind of the case that, like, streaming doesn't really build fandoms for movies in this way, because Dune, I think if it was exclusively theatrical, obviously the first one would have made more money, but even the second one would have made more money because it would have felt more like an event people. Because it was just shy of $300 million,

and I just really wonder if they had not made that very short-sighted decision to put all those Warner Brothers movies on streaming. Yeah, yes. I mean, in general, the success of Dune Part 2 amazes me and thrills me for so many reasons, one of which was it sort of shows up that decision

to make as much money as it did in February shows up that decision to, you know, put Dune out on streaming. But also, I continue to be a little bit amazed that the American movie going public got into Dune. You know what I mean?

This very dense, you know, in some ways, woo-woo, in some ways sort of like, you know, not incomprehensible, but like there's a lot of, you know, moving parts and, you know, worlds building going on in this that I did not think it was a guarantee that people would have patience. for. And they kind of just like rolled with it. Like the...

I mean, I'm maybe not the person to say the degree to which they did or didn't water down that source material for a wide audience. Well, certainly it's to a degree. But... Like, I hear what you're saying, but I also don't think that the Dune movies are any more

like challenging in that way than something like Lord of the Rings or Game of Thrones are to people. And people tend to follow those really well. So, like, it could be... Game of Thrones is different because it's a TV show and you get so much more time to sort of, like, use your way into that world. Lord of the Rings is interesting in that, yes, but Lord of the Rings, I think, is pitched towards a younger demographic.

There are things that are very sort of like child friendly. The hobbits are, you know, adorable. You know what I mean? Like, that kind of thing. There's politics at play in Dune and kind of, you know... Yeah, Dune's not really for... kids. No. No, no, no, no. I mean, Game of Thrones isn't either, but, like, kids definitely did watch it. Um, probably to a degree. But anyway, um, good for doing. Let's do the plot

description. Yeah, let's. Joe, are you ready for your 60-second plot description of? Come on, come on, come on. Sure, I can try. I will say, I woke up at 7 this morning. I, uh, did voice dictation to a notes app to, uh, to, uh, to get down my plot description. And then I went through it earlier today and proof read it. So we'll see how it goes. Great. All right. Your 60 second plot description for come on, come on. Starts now.

Cool guy alert. Watkin Phoenix plays a podcaster who's working on a highbrow NPR type series where he reviews kids about the world views and fears and stuff. His semi-estrange sister Gabby Hoffman asked him to help her take care of her nine-year-old son, Jesse, when she needs to head out of town and help Jesse's father who's going through a mental health crisis. And when that task takes longer than expected, Johnny takes Jesse back to New York with him and experiences the joys of child care.

The two uncle and nephew are pretty sweet with one another, which shouldn't obscure the fact that Johnny finds this quasi-parenting situation baffling, and a real challenge to his system. Meanwhile, Jesse tests his uncle's boundaries and is definitely going through it, as he's not sure what's going on with his dad. And it's a Mike Mills movie, so it's mostly devastatingly humane scene between uncle and nephew after devastatingly humane scene between uncle and nephew. All the while, Johnny is constantly on the phone with his sister who's like, yeah, man, kids are weird in giving him this really sage advice, and they're repairing their relationship, too. Finally, after Johnny takes Jesse on a work trip with him to New Orleans, Gabby Hoffman has good. good news that Jesse's dad is out of the mental hospital and she can come and pick her kid up from the world's longest sleepover. This makes uncle and nephew both very sad in a way. Neither one of them knows how to articulate, so they just go out to the wooded area and

scream for a bit. We're left with an optimistic hope that Johnny can be back in his sister nephew's lives. And while Johnny has previously expressed dismay that Jesse will get older and forget this whole intrlude in his life, Johnny starts recording his memoirs of his weeks as an uncle dad for his nephew to remember when he gets older. Joe cries a lot at the end. 15 seconds over. All right. 15 seconds over, I think, is Remarkable for me.

Of our inability to do our own game and the movies. I hate saying things like lack of plot. Like, I hate anything where people are just like, nothing happens, nothing happens. And I'm like, not every movie has to be about the plot. Yeah. But the movie's lack of plot. You know, it's not about this is what happens.

To the point where he loses his nephew. A couple of times. And in a different movie, that's like a bigger deal. Like, also in another movie, it's a cliche. And here it's not really interested in the cliche thing of it. It's about, you know, it becomes about he gets upset when he finds him because he was scared. And the, you know, the thrust of it is he has to learn how to explain to the kid. Yeah.

I'm sorry I hurt your feelings. I'm sorry I got mad. this is because I was scared and, like, apologize to the child. And that's more interesting than the, like, the more cliche thing of you lose the child and, like, the panic of that. Even, like, his relationship with his sister does not follow these sort of typical plot arcs. We don't get the, like, big blowout fight between them in the third act so that they can get all their feelings out loudly and then have a catharsis with each other and whatever. their biggest argument happens in the first third of the movie in flashback. And that relationship is really able to, and I think I'm of two minds often when people,

I mean, it's the scene in adaptation where he's at the Brian Cox seminar, and he says, I want it to be like in real life where nothing really happens. And Brian Cox, you know, yells at him about, you know, you don't think anything happens in life. I'm of two minds when, you know, this idea that like, oh, this is, real life doesn't conform to a three-act structure, like that kind of thing. And a film, you know, shows something that steps out of that. Sometimes I feel like films can get a little too, indie films especially, can get a little too formless for their own good. This movie does have a three-act structure, though. It does.

It's just maybe looser than other people would want it to be. It's quite literally a different act in a different city. In a different city. Yes. But it doesn't hit those sort of like dramatic crux or crisis points in the way that like even him and conflict resolution. Right. Even like the ways in which he and Jesse, you know, that relationship progresses and they learn to communicate with each other does not feel like it has these moments of epiphany. You know what I mean?

So much as these are sort of small moments where. they come to understand each other a little bit better. And I do appreciate that. And I think because Phoenix and Woody Norman play those scenes so well, Mills can pull that kind of thing off. Yeah, yeah. And then throughout, it's punctuated by the very Millsian montage of all of these interviews with various children saying these very,

very clear-headed thoughts on the world that are, I think, to some degree, meant to surprise us and to, you know, be smarter than we expect it to be more astute and observant than we expect it to be. And sometimes they apply to what Johnny and Jesse are going through. There's the one kid who talks about how he essentially, I think his dad is in jail. L, right, is in prison. And he talks about having to take care of his little sister and how he, you know, it's hard, but he's, you know, he likes that he can do that. And he's, you know, he says something about how like, you know, I'm, you know, I can be her brother or her dad and I'm happy with, you know, either one of that or whatever. And this is, you know, this is a teenager. And Johnny actually, it's the one time he sort of like stops and it's like, you know, you're

really good kid. And that you can see applying a little bit to Johnny and Jesse's relationship, the sort of blending of, you know, he's his uncle, but like for this little stretch of time, he's his dad, essentially. But not every interview with the kids is like applicable to their relationship, which I also like. It gives you, it doesn't feel suffocating in its, you know, drawing of lines. It also doesn't nod to COVID in any way. I think we might have expected at that time, and graciously it's not there. I think there's also...

It plays a little bit like a period piece already, because there's no concern for AI in any of these kids, and it's, you know... I think watching it now does escape the feeling of, oh, these kids' worlds are about to be really rocked, because they're heading into a very financially uncertain future. Yeah. But, you know, it doesn't ever really feel like the movie is interested in the kids' perspectives

in any particularly topical way. It's more in like a philosophical way, the way they see the world, the way they see their lives, their hopes for the future. What they think heaven is, what they, you know, think, you know, the future of the planet it is, how they, you know, appreciate sort of like living in a city, you know what I mean? Like, which I also sort of like. It made me wish I was still, a lot of things this summer have made me wish I was still living in the city, one of which being the Knicks and watching the city sort of like

come together for all of that has been very, I'm very jealous. But. So happy for Spike Lee. Oh, my God. Did you see the footage of him? in his car, in the sunroof of his car in Fort Green, where, like, they're driving the car down this, like, crowded street in Fort Green where everybody's around cheering, and he's, like, the grand marshal of his own little mini Spike Lee parade. It's fantastic.

I did not see that, but rest assured, I am very saturated with Nick's exposure in my feed. Yeah. This is maybe why people are like, oh, I thought you lived. to New York. I'm tired of hearing that people, but this is maybe why. This may be why. It's fun. It's good. I'm happy for people.

What were we saying? I suppose we were just wrapping that up. I think also... Do we want to talk specific? Oh, go ahead. No. I was... I thought I had revisited a thing about Mike Mills as a filmmaker, but maybe not.

I'll come back to it. We'll think. Well, I was going to position us towards Mike Mills. Good. If you talk about Mills, maybe we can come. Maybe you can return to my brain. Return to my brain, thought. You're welcome.

So Thumb suckers his debut in 2005. Premiers at Sundance Plays Berlin. Lou Taylor Pucci gets awards at both of them. He loses best first feature at Indy Spirits to What? Crash. Crash. I wonder if Jack Nicholson handed that one out, too. crash um

Lou Taylor Pucci is one of those actors who I'm always happy when I like can recognize him back in something again because um He and Austin Abrams should play cousins or siblings in something Right right older or like Young uncle older nephew

Like that kind of relationship Or like your mom has a very younger brother Kind of a thing The elder Come on come on You know come on come on in a few years afterwards Right right What has he been in lately that I recognized him in?

I know it was definitely at least one. Well, he wasn't in. Oh, physical was one that I remember, the Roseburn TV show Physical, that ended up being too... If you're pulling up his filmography, I'm going to have to pull something else for IMDB game later, just so you know. Oh, I literally scrolled right past...

I'll X out of that right now, because I scrolled right past to his most recent stuff. No, no, no, no, it's okay. I'll pull something else up. Okay. Because we should also mention, if he is like a TV style actor now, he's also in you, which every time I see someone talking about the show, you, are posting just you, in a way that, you know, breaks your brain to read a sentence.

Yes. Where it's just like, wait, what is the sentence here? It's not only bad for SEO. It's bad for just like people's brains to have to. Yeah. Yeah. What is the, you know, the syntax you're talking about the show, you? But anytime I see that title,

conversation. I always think of Soldier Boy. You know, and my brain is like, you! And then I think of Timmy Salome in Brazil at that magical moment where I was like, he's definitely winning the Oscar. Everybody loves this. Everybody loves what he's doing

right now before I realized that many, many people did not. He is also having the time of his goddamn life right now, and I'm very happy. It's this odd fraternity of like Timmy Salome, Spike Lee, Tracy Morgan, Fat Joe, and Ben Stiller as like the Nix fan, the traveling band of Nixvian.

Get them on a roundtable. Yes. The most chaotic roundtable you could imagine. That would be incredible. Listen, if the ringer's good for anything, it would be good for that. Put all of those guys in a round table and get them talking about both the Nix and the year in film. Hold them all, like tie them to the chair and force them to watch like a Kelly Roy Cartman. Please.

I want to work. would enjoy a Kelly Wright Cart movie? I think Tricey Morgan would like a lot of different type of movies. I think that's probably true. Have you watched Fallen Rise of Reggie Dickens? No, no, I am catching up to it. It is the number one priority for television. You'd really enjoy it. Yeah. Everything that I've just like caught up to this year, I'm just like, all TV, I, I, people can get mad at me for this, but I'm like, all TV is bad right now.

Even the TV that everyone likes. Wow. So I'm just afraid, like, the Fallen Rise of Reggie Jenkins is, absolutely a show for me. Yes. And I'm just afraid there's something in the water. Actually, I take that back. The comeback was good. It had a really bad episode, but the comeback overall, very good.

I thought it was a little uneven, if I'm being honest. But it had the highs I thought were very high. Yes. I'm not sure about, I don't know. Well, there's a longer conversation. Yeah, it is a longer conversation. I think it was trying to do quite. quite a bit.

Yeah. When, you know, it could have some of the focus of the first two seasons. You also, a little bit surprising to me, were a little cooler on Widows Bay than I thought you were going to be. I'm a little bummed. Not that, like, whatever. There's a lot there for me to like, Mike Lee, regular Cato Flynn. She's so good. Did you get as far as her spotlight episode?

I got, like, four episodes in. I think that's about when her... her episode comes. I have a severe allergy. Like past EpiPen allergy, like take me directly to a hospital allergy to the Stephen Kingification of pop culture. Oh.

Well, that would be a problem. That's why that show is not for me. I love Matthew Reese in anything. I think he's great on the show. He's great. I don't love the show. Damn. I really thought that was going to work for you.

Well, it's a me thing. It's a me thing. I am happy for anyone who loves that show. Yeah, yeah. Well, I still am confident that you'll like Fallen Rise of Reggie Dinkins, so. I hope so, because it seems very me. Yeah. Anyway, you, starring Lou Taylor Pucci.

So where to begin? I do also... One thing we forget about Thumb Sucker is there is kind of a, you know, unexpected performance from Keanu Reeves in it. Yeah. But the performance I think about when I think about that movie is Tilda Swinton. I'm shocked.

Who even then I was like, oh, she does like, she'll sometimes stray into, like, mainstream stuff, but she's mostly like a weird, arty person. And she's like, she's the mother in that movie. And it is this very, like, I'd seen the deep end at that point. Yeah. But that was the first time that I saw a performance from her, and I was young. I saw that, like, right as I was in college.

I thought, oh, this actress can do literally anything. Like, she can just do it. She can do anything. She makes sense in all types of movies and can deliver an amazing. And that was before even Michael Clayton. So, yeah. Because even by comparison. like thumb sucker for her is a normie one compared to Michael Clayton.

Right. Yes. You know, because Michael Clayton is like a very accessible thriller, but she's doing something. She's doing a lot. Yeah. Very specific. Who's the dad in Thumb suckers? Is it like Dermit Mulroney or something like that?

I think it's in Cincinnati. It's in Donofrio. Okay. Okay. I'd love to see Tilda in another Mike Mills movie. Oh my God. Yeah. No, that would be incredible.

Yeah, I'm looking at the cast. kind of limited to first feature things and then recognition for Lou Taylor Pucci or Pucci. Pucci. I like that. 2011 is, well, you know, that was a PCJ question. I was like, I did. I would have been right. Notice that, I know.

2011 beginners, it's basically a season sweep for Christopher Plummer. It really is, yes. He had gone his entire career without ever. being nominated. And then he got nominated for, of all things, the last station in 2009, where he plays Old Tolstoy. Old story, you could call him. Old Tolstoy, Ronevon. Basically, yes. And so it's the sort of like breakthrough. It's like, oh, I'm glad that Christopher Plummer got an Oscar nomination before the end of his career. And then he's like, bitch, you thought, because like, he's got like... And then he wasn't done. And he wasn't done.

And he wasn't done even after winning, exactly. But yes, he sort of runs the table at the 2011 in an admittedly pretty weak field. Like, I think he probably wins anyway that year. But, like, he's up against Kenneth Branagh in My Week with Marilyn, Nick Noltean Warrior, oh, who else? Who are the other 2011? Jonah Hill in Moneyball. and who probably, if not for Christopher Plummer, probably wins that year.

Or who's the fifth? Who's the fifth? Who's the fifth? Find the note. No one for the artist. Max Foncito. Max Fon Cito. In extremely loud and incredibly close.

The other long in the tooth veteran. So, yeah. So it's one of those odd things where he sweeps the Oscars at no point is beginning. a threat to get nominated anywhere else on that ballot. Maybe original screenplay. But it ultimately doesn't. It wouldn't surprise me if that was a WGA nominee for screenplay, actually. I might look that up right now.

But doesn't get any kind of buzz for the at the time up to 10 best picture race. Ewan McGregor, some pretty much to his, you know, in keeping with the rest of his career, Ewan McGregor doesn't sniff contention for, what is it about Ewan McGregor? That people, even when he's in a movie that's getting Oscar attention, that everybody's like, nope, like, not going to even consider it. I don't understand it. I don't get it. I'm not positive.

I understand it either. other than Moulin Rouge, I can't, I mean, Velvet Gold Mine for me. Yeah, I mean, same. That would be one that is like recognizing for that. I definitely wasn't. But even just Moulin Rouge in Beginners, you would think that like, he might have like just gotten something. He's not my favorite thing about beginners, I will say.

I mean, I think. I don't like him in beginners at all, but like I am an outlier, so. He's maybe a little miscast, but I like the, I used to, I. My first watch of that movie, I liked it a lot more than when I watched it again. I was like, oh, the Melanie Laurent stuff is actually kind of not good. Yeah. Yeah. No WGA nominations for anything for Mike Mills. So that sucks. That's too bad.

Maybe he's one of those people who's not actually in the guild, so he's always off those eligibility lists. Maybe. Although, I don't know. I can't think of a structural reason why. Like, normally, it's usually it's just they're not American or, you know, they came up through unusual pathways or whatever. But who knows? Anyway. 2016 is 20th Century Women. Hot damn.

A movie we both love very much. That was a movie that I remember hearing about being en route. And I remember because I was not a huge fan of beginners, I was like, oh, okay. and it felt like one of those things that like, oh, there's an Annette Benning movie, it's this indie thing, put her at the bottom of the list of like, also to consider things, and like, it's not going to be a thing. And then I saw it at New York Film Festival and just like, I mean... I think it was their closing night movie. I think it was. And I saw it, my sister was in town, and I saw it with my sister. and it was one of those experiences where a movie really kind of like wallops you

really unexpectedly. Very much like the lyrics of Beauty and the Beast, barely even friends, then somebody bent unexpectedly. And that person was me. So that movie became, and this is the same, this is the year of arrival. And so, quite ironically, the two movies I was riding the hardest for that season were a rival in 20th century women. What Oscar category do I care about the most? Best actress. What happened that year? My favorite category harmed me specifically, like went out of its way to be like, none for you.

And that harmed you doubly because the one that you ultimately were probably mad at afterwards was that. Was Merrill Street? Your faith. Yes, exactly. So, yeah, what are you going to do? What are you going to do? And your fave got to be the beneficiary of all of it, so I hope you're satisfied. I mean, she became my fave sort of after that.

Really? Because L, initially, I was a little bit of a grouch about that I was like this movie. But, like, your fave actress. It's not pushing my buttons. But you were already a giant Isabella-upéer fan by then, I imagine. Things to come is the one. that did it for me. And then you went retroactively backwards and watched all of herself? Oh, wow.

Things to come. Like, when I saw that movie, I was like, I feel like I'm watching my mother. I will say, you sell that really well. You sell it as if you were like a day one like from the age of five I've been watching Isabella I do not claim to be.

I do not claim to be. If anybody has that perception of me, please know that I do not think that I am some ground level who. No, I'm not saying that you are like spreading a false narrative. What I'm saying is you have the gravitas of somebody

who's been in the trenches the whole time. So, like, that is a compliment. Well, because I've watched a lot of crap because any performer who is in that many movies is in a lot of crap. And it's also just like, well, what can I get my hands on? Because not all of it is

available here. But, like, I mean, her very best work is, like, one of the reasons she's, like, the greatest living actress, you know? But things to come was actually the one that really did it for me. Like I said, I felt like I was watching my actual mother's story in some way. Oh, okay. And she, like, bears a lot of physical resemblances that my mother has.

Oh, no kidding. Oh, wow. Yeah. Mia Hansen Love. Did you see that Mia Hansen Love? Mia Hansen Love is making a movie with Renata Reinsva. A thing that I literally said when I was on Critical Darling's last, February, where I was literally like, Renata Rinesvish should make a movie with Mia Hanson Love.

And look, it's happening. It's all happening. It's happening. You're welcome. Yeah, Hanson Love goes through waves of making incredible movies, movies, and then incredible movies again. And then incredible movies again, though. We'll see what the wave is. What was her last movie? One time, morning, I thought was fine. I thought it was fine. I thought it was good.

That was the lay-a-s-do one, which we were going. going into it, having people tell us that it was one of her best. And we were like, I know people who really love it. I was like, I thought it was okay. But I sometimes chalk that up to me generally feeling that way about Laia Sedu. Leia Sedu's, I think, incredible. She's one of your favorites. But the movie itself is.

Yeah. Is that the most recent movie she's made? I think so. Yeah. Okay. Well, anyway, looking forward to that one. But yeah, 20th Century Woman fucking rocks. And should have, it got a screenplay nom.

should have gotten actress, supporting actress, picture, director, score. Sporting actress. Score, my goodness. Yeah, supporting actor and supporting actress. Yes, like, honestly, this should have gotten 10 nominations. I'm not even kidding. I'm not just being like, you know, some, you know, F slur who loves, you know, movies about women. Like, this is, it's the real deal.

It's so good. Yeah. But, I mean, that was handled by 824, 824. 24 did everything to push moonlight across the finish line. We've talked about this before. It's like they made the right decisions. Yeah. Yeah. Yeah. You went some, you lose some. Yeah. Uh,

and I don't, I still see some like critical reactions to 20th century women. That's just you know, mild positive. They're like, yeah, good movie, fine. Yeah. Not a whole lot to talk about. And that makes my head explode. I know. I mean, even if you didn't

like this movie. I don't think you can, I don't understand coming away from it and not having a million things to immediately say as soon as you stop sobbing. Yeah. I sobbed through that movie the first time I saw it. We don't have to burn all of our, you know, potential exception episode. That is true. Hint, hint, uh, energy. That is true. Yes. Um, but yeah, great movie. That movie made me feel like I was watching my grandmother. Oh, wow. Okay. So we're, we're, 2016 was a lot. for you in that regard. Sure. Yeah.

Joaquin Phoenix, it's amazing how quickly he was able to rope me back in after Joker. The Joker was only two years before this movie, and I was sort of at my nadir of, although I will say, for as much as I did not care for Joker, I was somewhat impressed by how Joaquin Phoenix, navigated that year's award season. He was not obnoxious.

He was respectful. He was, you know, sort of... He didn't ever do anything that annoyed me too much. I know he had that Oscar speech where he was talking about animal... A mother in her calf. Right. And, like, if that's as... And that was...

Was that before or after René Zell-Wigger giving us... Venus and Serena, Dolores Huerta Hold on. Let me look up... Let's see. 2019 Academy Awards. You did that in a trivia around one time and people were like,

what are these questions? I was like, guys, the answer is Dolores Querta. I just... You just have to trust me. No, the answer was Bob Dylan, but like, yes. I think. It was... Yeah, because it was Venus,

Serena, Selena. Bob Dylan. Bob Dylan. Okay, so... So actress. Actor was right before actress. It went, those were the,

it went Best Director, then the In Memorium, then for some reason, George Mackay comes out to introduce Olivia Coleman. I don't remember what the deal was with that. Then Best Actor, then Best Actress. And then Jane Fonda gave that envelope a little extra look,

and that's when you knew that Parasite one best picture. I feel like I went into that night knowing Paraside had won best picture. I mean, I think by that point, certainly, by the time he had won director and screenplay,

because that one screenplay, too, right? Yes. I was like, yeah, Parasite's winning. But still, there's always some trepidation. So, yeah, so Joaquin talked about the calf, and then

Renee Zellweger was like, okay, well, I'm going to talk about Sally Ride and Bob Dylan and Venus and Sirrence. I mean, I appreciate the point that she was trying to make. I do, too! Which is that, you know, the stories of our heroes give us something to believe in, and we need stories about heroes, et cetera.

It's just so funny. It's just so funny the way she laid it out. Yeah. What a time. The thing about Joaquin Phoenix, It is interesting that this, it feels like such a pivot away from Joker in a way that I was like, okay, he'll never fully lose me because this is the mode I want to see him in. I also do love him in like Gonzo comedy mode.

I know I'm much milder on Eddington than you are, but he, I do think, is very funny. He's really good in Eddington, which I can't remember whether that movie came out after he had abandoned Todd Haynes or before? It came out after, but it was made before. Yeah, definitely made before. Because they were asking him about it at the at the can premiere. Yes, you're right.

And that's why he did no more... Because he definitely lost me when he screwed over Todd Haynes, and then he did win me back a little bit more with Eddington. That movie's happening, though. It's filming with Pedro Pascall. I mean, that I know. That is harm.

You've done harm. I want to love Pedro Pascal. I want to love. I understand that this is not a popular opinion, particularly among our younger listeners, and I'm just going to volunteer that. If Pedro Pescal doesn't vociferously come out of the closet during the press tour for his Todd Haynes movie, that's a wrap. I'm done.

I'm done. I'm done. Nobody has the obligation to come out on anybody else's schedule, full stop. And yet, contra, whatever, contraintuitively, if he doesn't during that, that's kind of everything I need to know. I mean, at this point, Marvel's not going to, like, recast the role. I have less of a problem with that, and I care less. What I've, my thing about Pedro Pascal is everything that I've seen him in, I'm always like, Like, this is, this is our guy?

I know. I know. I don't. I agree. I don't find him as compelling as a performer as other people do. I agree. Um, and I don't want to be one of those people who's like, well, it's a TV performer. That's what I do say. I don't believe those type of things.

I generally don't, but in his case, yes, I do. I think he's a TV actor. Because like Lisa Kudrow is, I think at this point, needs to be called one of the greatest living actors. Sure, yes. Lisa Kudrow has been a great movie actor, though. Like, she has the kind of movie star, like movie actor presence to do a movie like Romeo and Michelle.

People like Pedro Pescal, and I will reiterate and double down on this, John Hamm, are TV actors. And they have the kind of presence that can carry a TV show and really hold that, you know, hold that line. And to me, neither one of them have ever been that kind of compelling in a movie. And I do think it's a matter of scale. I did appreciate him, and I liked him in materialists. But the part of that role in materialists is that he's handsome, but not compelling to the lead ultimately. And I was like, well, it's a fit. I think he's a fail in that movie.

I think. But I also, that movie doesn't work as well for me, but maybe he's a reason why that movie doesn't work. Yeah, I think that movie's a bit of a mess. So, yeah. Anyway, Joaquin. Another A-24 movie, though, because you do kind of have to contextualize, come on, come on, in this moment of A-24 having a rough year that they basically immediately rebound off of.

Yes, because they have everything everywhere all at once coming right down the pipe. Months later, months later, and becoming really one of the first runaway hits post-COVID. Probably, I would say, even the first runaway hit. And an unexpected one, a spring hit, like that kind of thing. There's a lot of, you know, there's a lot of good that comes with that movie being as big of a hit as it is. But yeah, so come on, come on. Comes out amid an A24, 2021 that begins with Zola. And they'd taken a break during COVID.

First Cal comes out the week before everything shuts down. And then they did Minari, basically a digital release. But it was in theaters, too, the few theaters that were open. And that was it for 2020. So 2021, as far as a bounceback. And you're talking about movies that had premiered, like Zola, or movies that were planned to premiere right after, like, shutdown happened with the Green Night. Right.

They have a movie that goes direct to Hulu called False Positive with Alana Glazer, but they don't really have a proper A24 release until Zola in June of 2021, a movie that was a big deal for, I think, a select amount of people. You know what I mean? I feel like Zola was highly anticipated by, you know, the bubble that we are in. And, you know. But at that moment when it's like, okay, theaters are really open, people are vaccinated, that movie makes 4.8 million and it was initially done as a, it's seen as a disappointment. Yes.

But then when you see what similarly scaled movies would make in 2021, things like, come on, come on, 4.8's pretty good. Like, 4.8's better than some Oscar nominees. The other one that comes out the next month is David Lowry's Green Night. Now, I'm looking at this just via the stats that are on Wikipedia. So, like, Hollywood accounting is what it is. But it lists here the budget being $15 million and the box office being $20 million. Now, that probably ultimately comes out to a loss when you factor in. But, like, that is a movie that looks like and was received like something that would have,

lost a lot more money. You know what I mean? Yeah. Because it looks really impressive, I think, and nobody I know, like, people we know talked about that movie, but like that movie did not achieve escape velocity from essentially film Twitter. And even among film Twitter, the reaction to it was pretty muted. That is a movie... It's since really gained a cult, but I think that there's probably still a large contingent of that movie's biggest fans that never saw it in a theater. Yes. I would love for this movie to get a theatrical re-release, although now that Mother Mary didn't really land, I wonder whether that ever, you know, would ever be feasible. But I would love for, I would love to be able to see the Green Night on the big screen, because

with like a big crowd, you know what I mean? Like of... I did opening weekend, and I was the only person. That's what I mean. That was my experience as well. And yet, it still kind of legs out to $17 million, which is, again, more than multiple Oscar nominees this year. Yeah, yeah. And then a couple of, you know, very sort of like minor releases, Lamb, I remember

getting into theaters very briefly in October. And then the souvenir part two, which. again, is really playing to a niche of a niche by that point. Yeah, they kind of dumped it. It makes less than $100,000. That was when I thought to myself, oh, we're in some real trouble. With getting very well-reviewed movies to get butts in seats. And then their November, December, is a quartet of movies that are like three, I think, great movies and one movie that, like, is at worst watchable.

You know what I mean? And it's, come on, come on. The humans. Which they dumped onto Showtime. Oh, it didn't even go. I saw it in, I definitely saw it. Maybe I saw it in a critic screening, though. Because I definitely remember seeing it.

I think that there's no reported box office gross. So there might have been some type of limited theatrical engagement. But it was effectively treated much like after Yang would be. just dumped onto Showtime. Sean Baker's Red Rocket, which released in December, and then Joel Cohen's The Tragedy of Macbeth, which I...

Which was Apple TV co-production. But Tragedy of Macbeth did play in theaters at some point. That's another one that I saw in New York Film Festival. They did like a limited IMAX thing that I think played in like a dozen IMAX. So come on, come on, Red Rocket and Tragedy of Macbeth, all of those I saw at New York Film Festival.

Film Festival. And then the humans, again, I'm pretty sure I, now I'm pretty sure I saw it at a critic screening. So I was able to see all of those in a theater, which was not the general experience of everybody. I think, come on, come on, the humans and Red Rocket are all really, really, really good movies. And I think the tragedy of Macbeth is like, has some interesting things going on, but ultimately, I think, does not work. I'm not sure how you feel about those four, but, like, watching them not really make a dent in that Oscar season, particularly come on, come on, the humans, Red Rocket, like, don't make a dent in that Oscar season. And, like, understandably so, I think, given, you know, their minimal impact, but, like, it is a bummer to me.

Mm-hmm. So. Yeah, yeah. I mean, we're pretty aligned on those movies. It's, it, I think they all just kind of paint a picture of what this year specifically was like and what the unique hurdles were, and how certain movies were initially painted, like Green Knight, as financial disappointments, but would ultimately be better than the movies that would be rewarded at the end of the day, and re-contextualized to be like, no, these are actually the ones that are doing kind of decently well. But it's like they're still doing less than...

It was a weird time. It was a weird time. A-24 will often do these sort of, like, branded re-releases and stuff like that, or, like, bundled, I should say, re-releases. And, like, I would love for them to do a, like, Amacron re-release of, like, a four-week run of, like, Green Night, Come on, Come on, the Humans and Red Rocket. I think that would be... Double feature of the souvenirs.

The souvenir and the Tuveneer. Don't re-release lamb. That movie sucked. No, yeah, that's fine. Although, I mean, this is not a conversation. I think we have time or the scale for right now, but, like, A-24 in the, like, post-backrooms era, I think is going to just be a very, very, very different company.

Well, they're going to do the Eldon Ring movie, so that's going to be... Yeah. I have to imagine that that will have that type of potential. But that's what... I mean, so long as they're still doing a broad range of movies, this is exactly what I've meant when I'm like, Sometimes they do dump their best movies, like specifically when you talk about the Joanna Hogg movies.

Even in the year when they did a lot for Minari, it's like you have First Cow being eligible. You could lift a finger for that movie to try to get at some awards attention, especially after like New York film critics are handing you their best film prize and you still don't really take the ball and run with it. Apologies for the sports metaphor. No, it was a good one. I don't know. I mean, like, I'm definitely among the most pro for Mother Mary. I think they're still doing things that are risky. I'm very excited for the Lance Oppenheim movie. I just mean that, like, now that they know what they can do with something like Backrooms,

I do wonder if they start pivoting more towards, more heavily towards making movies with that audience and that potential, rather than, and maybe pivot away from the Mother Mary's. I, and leave that to, you know, your neons and movies and whatnot. We'll see. Neons still doesn't produce as much as they acquire things, though. So who knows? And, like, at this point, A-24 doesn't really acquire much. They just acquired the George...

The George Firstman. The George Foreman Club Kid, Jordan Firstman. Now I'm picturing George Foreman at a club with glitter... Glitter. Club Kid, another Uncle Buck riff. Like, come on, come on. Yeah, I mean, as a, you know, uncle of nephews. Come on, come on.

Is Uncle Buck, if he was on Welbutrin? Club kid sounds like Uncle Buck if he was on Poppers and Mouth. Yeah, yeah, yeah. Maybe Uncle Buck will hit different with me now that I, when I watch it now. That would be the gag. If I walk away from Uncle Buck, just like weeping, just being like, it's so beautiful. You just got to get an Amy Madigan girlfriend and a griddle large enough to make those pancakes. Listen, we can make it all happen.

God, pancakes would hit the spot right now. Pancakes always sound like they hit the spot, and they never do. Really? That is a hot take. You get pancakes, it's never what you wanted. That is, I will qualify, I will say that attains the level of hot take. I'm just going to say. Oh, I don't think that's a hot take.

I feel like whenever I mention that about pancakes, people are always like, yeah. Really? So your assessment is that, like, nobody ever really likes a pancake. People want pancakes, but they have an idea in their mind of what pancakes are, and then when they have them, you get a bite or two into it, and it's like, I don't really want this. Fascinating. Now, are you more of a French toast person like I am? Not really.

Man. We are at the end of the day, very different people. My mom used to make French toast all the time. My mom makes good French toast. I don't really like anybody else's French toast. I love French toast. All right, maybe I'll make French toast. I guess I'm never having French toast again.

Guess not. Oh, gosh. Woody Norman, BAFTA nominee for this movie. And deservedly so, I would say. Again, we talked about it. And also, the BAFTA thing. Hometown advantage. The BAFTA thing now makes more sense now that I know that he's English.

So there is that. The other BAFTA nominees, Troy Kats, Mike Feist Kieran Hines Woody Norman Jesse Plymonds Cody Smith McPhee So

Oscar successes for all of those other folks All of the Oscar lineup And then two youngans Yeah well Wait who's the other young in I missed when you mentioned Mike Feist

Oh Mike Feist Who should have won that year I'm just going to stand by it I'm sorry I thought he was so good You can stand by it Um Yeah Woody Norman great

Woody Norman is going to be in the new Paul Greengrass movie, I noticed. That Focus has just announced will come out on September 11th, so right in the middle of TIF, which again... Right at the beginning of Tiff. Oh, this year it is right at the beginning of Tiff because it's a late Tiff. Yes. The uprising in plague ravaged 14th century England, a peasant triggers a rebellion against King Richard II and unintentionally becomes a legend of resistance. I believe King Richard I

was super young so I think Woody Norman might be playing King Richard but like we'll find out That's cool that makes me more interested in that movie Andrew Garfield Jamie Bell Stephen Delane Tom Hollander Cosmo Jarvis Thomas and McKenzie Johnny Lee Miller and Catherine Waterston

An interesting cast But yes I do kind of agree with you That like if Woody Norman is playing King Richard the second Let me look up King Richard the second for a second for a second King Richard King Richard the second

is the sequel to the Richard Williams movie where King Richard the second of England only reigned for two years oh this I can't whatever probably young we'll see who cares

I lost interest in that very quickly all right Gabby Hoffman kind of rocks some this movie. Not surprising. Did she get any kind of like indie spirit stuff or... Surprisingly, only the Gotham.

Gotham, I knew it was something. She nominated for supporting performance by the Gotham's. Interesting Gotham's recognition there. This was, oh, this was the year that they really loved the Lost Daughter, as did the Independent Spirit Awards. Yep, it is nominated for three Indy Spirits and picture, director, and screenplay loses all of them to Lost Daughter. Yeah, there we go.

Olivia Coleman and Frankie Faison won the outstanding lead performances that year, and then Troy Cotsar for Cota, one supporting, and Amelia Jones won for breakthrough for Cota. I think also pursuant to what we were saying, too, about movies having a harder time breaking through that fall. I think one reason why Coda, one thing that benefited Cota was it's opened in August and was able to have something of a theatrical, you know, something of a theatrical room. I still think this is a benefit to basically every Best Picture winner COVID-in onward because, you know, and you could even say Parasite because Parasite won that palm, so it has. that awareness very early in the, you know, award season run. I mean, if we're saying award season is the full calendar year now, but... Yeah.

You know, Anora also had that palm before, you know, being the, like, the top must see that fall. And then you have a lot of other early year releases. Yep. Yep. I think that's true. Come on, Come On, Come On. Was also on the National Border of Reviews, top 10 independent films.

An interesting list of movies, including at least... two that I don't think I've ever heard of before, which is interesting. Card counter, come on, come on. Coda, the Green Knight, Holler, Jockey, Old Henry, Pig, Shiva Baby, and The Two Veneer. A few movies that I, like, really loved that year, including Pig and Shiva Baby, two of my favorites. I don't think I ever heard of Holler, which... Holler and IFC release. It was fine.

Jessica Barden, who shows up in a lot of things. I still remember her as the girl from Hana, the Sersha Ronan movie Hana, the sort of normie girl. She'd be friends. And then Old Henry is another one I was not familiar with. I saw that based off the recommendation of some folks, and it was an immediate no. Yeah. It's fine, but no. Yeah.

Yeah, but like between, come on, come on, Green Knight, Pig, Shiva Baby, that's a pretty good list as far as I'm going to say. And the Toonier, less we forget the Tovener. I am less enamored of those movies than you are, but like I will put respect on their name. They are very good. What was NBR's number one? Liquorice Pizza, was there a number one movie that year? That's interesting. That doesn't really super fit the NBR thing to me.

I feel like I would have felt like in a year like this that they would have been more tuned to, to something like Belfast or even King Richard. But sure, liquorice pizza. Where did you come down on licorice pizza? Beyond, obviously, Cooper Hoffman. I mean, that didn't do that was not when

I developed a crush on him. You hadn't been activated on Cooper Hoffman yet, yeah. He's good in the movie. Alana Hyams great in the movie. It's not a movie that's, I really think about that much. I mean, I do think it captures, the vibe it's trying to do really well. And I do think it's this stealthy, non-preachy movie

about how a generation of men were all raised by awful men. And that's like the point of the movie. And it's not in a preachy way. But like, it's not a movie I think about that often. It's a Best Picture nominee I often forget. And I mean, like I liked it. I think it for me is going to be in terms of Paul Thomas Sanderson what inherent vice is for a lot of people. Because coming around to inherent

vice, I do really, really like inherent vice. Speaking of Joaquin Phoenix, yeah. But like, licorice pizza, I just all, I never think about that movie. I probably think about that movie less than any other. I think at the time I was also pretty

less impressed than a lot of people were. Aside from Bradley Cooper, who I thought should have gotten more attention, and I thought everything else should have probably gotten less attention. Cooper's very funny in that. But yeah, so come on, come on again, just to sort of wrap up. There's a thing that he says at the end, where he's talking about that scene where he and the kid

are sort of just like lying there as, you know, he's trying to get the kid to fall asleep. and he says, you know, as he does a few times in the movie, sort of like amazed at, you know, what this kid has ahead of him, whatever, and he talks about how this kid ultimately is going to one day, just like, you're not even going to remember any of this. And he talks about it again when he's recording his little monologue at the end, and he says about how Jesse got very upset by that,

and he says, you know, they show the clip of him saying, I don't want to forget. This is when I'm just like, and Joaquin says, he says, I'll remind you of everything. And that really hit me like a ton of bricks. Like what,

I love a movie with like a really lovely final sentiment like that. And it's incredibly sentimental, of course, but it does, I think, get to the heart of that very specific relationship. Whereas, like, I have had that thought of, like, what will you, what will this kid remember, like, take of how close we are now into his adulthood when he has been impacted? Like, one of the things that I loved about watching this relationship he has with specifically Jesse is that, like, at nine years old, he's a very sort of self-possessed kind of peculiar kid who likes, you know, sort of like, you know, sort of like, you know, banter and, you know, pretend games and stuff like that. And, like, you know, they're, you know,

do like little like role play stuff. And in some ways, you're just sort of afraid for that kid as you send him out into the world. But in other ways, it's like he's, he seems less impacted, you know, when he says, you know, you're my best friend and whatever. And it's just like, I'm glad that that kid does not have this group of peers all, you know, turning him into something awful. I was going to say, this is also, like, the undercurrent running through this movie when I'm watching it. And, you know, you think about mailness in a way that it's just like, it's such a volatile thing to raise any child. but a child who could potentially at any minute step towards becoming a monster because of the way maleness works in our world,

even with so much stacked in his favor. Yeah. You know, sensitive parent, unique interests, weirdness. Any kid who is weird, protect and preserve that. Like, that will be a rescue for them because it's like, The other thing about maleness is like life pushes you towards normalcy or perceived normalcy in a way that makes people angry and evil. So it's like you want to protect the inherent goodness of this child. Well, and on the other side of that coin sort of is because for most kids, you know, life is a social, you know, thing.

And so most kids are sort of within that kind of social construct, and you want to at least be able to keep those guardrails, like keep nudging them towards, you know, good conscience, good behavior, good, you know, thing without being like that overbearing, you know, Margaret White type of, you know, authority figure, whatever. It's a balance. Like, I'm, I'm amazed. You get a little bit of this, too, with, like, Joaquin talking about how, you know, know, he's impressed by his sister. I'm like, I'm amazed at every, all the balls that my sister has to keep in the air, not just, like, tasks to do, but like things to keep on top of, things to keep aware of, things to make sure that you instill in the kid. You don't, you know, you don't want to make him spoiled. You don't want to make him, um, uh, callous or like, you know, disrespectful or mean or, you know, anything of those things.

and it's a lot. It's a lot. It's a lot. It's a lot. I also appreciate that Mike Mills doesn't position Joaquin Phoenix's character as lesser in any type of way because he doesn't have a child or that he's deficient in some way. Yes. Or in some way, ill-equipped to handle his portion of raising this child.

Yeah. that the parent themselves also doesn't find themselves, that doesn't, you know, find themselves equipped to handle as well. She's a very good mother, but she's not this very sort of like, I am maternity, I am Earth mother kind of thing. I just think that the lesser version of this movie is like, oh, well, he has to learn something because he's not as good of a person, or he's a lesser person or deficient in some way,

because he's not a parent. Because our society does that, you know. Yeah. But, like, there's certainly those type of movies before. I don't think Uncle Buck is that type of movie. Right. But those movies do exist. Baby Boom, unfortunately.

Is that true? I haven't seen Baby Boom since I was a kid. I mean, I still love Baby Boom. Don't get me wrong. I will ride for Baby Boom. But it is, like, isn't she such a better person now that she's a parent? Uh-huh. Yeah.

Yeah. I love you, Baby Boom. All right. I think that's good. I think that's everything I have really in my notes. Would you like to move on to the IMDB game? Yeah, every week we ender episodes with the IMDB game, where we challenge each other with the name of an actor or actress,

and we try and guess the top four titles that IMDB says they are most known for. If any of those titles are television shows, voice-only performances, or non-acting credits, we mention that up front. After two wrong guesses, we will give the remaining titles releases as a clue. And if that is not enough, it just becomes a free for all of hints. All right. How do you want to do this? Do you want to give her guess first?

Oh, guess first. All right. I pulled up someone new for you, and because I am not finding it in our spreadsheet, I'm just going to default to Christopher Plummer. Oh, beginners' own. Christopher Plummer. All right. I said that without even looking at the known for.

No, God. No further comment. Beginners is correct. It's not going to be the sound of music, I really don't think. No further comment. I also don't think it's going to be the last station. No voice. No voice. So no up.

Okay. I'm trying to think of like, What does Chris, a girl with a dragon tattoo? Incorrect. Well, then, what to do about that? Christopher Plummer. Fine, sound of music, just to get me years. Sound of music is incorrect.

All right. Your years are 1999. Oh, it's incorrect. Oh, okay, I thought you said correct. Oh, okay. It's incorrect. Sound of music, not on Christopher. blumber is known for.

1999, 2015, and 2017. 1999, 2015, and 2017? Yes. 17 is all the money in the world. All the money in the world is correct. 2015 and 2017.

All the money in the world is 2017, so it's... 1999 and 2017. 99. Yes. Um, the insider. The insider is correct. Should have been his first Oscar nomination. Should have won, I would say.

Should have won. That year. Yeah, yeah, yeah, yeah. He's so good. 2015, I will say, I am, that was why I was... You're laughing? Laughing, because this is a movie. I know you have not seen. I would guess you haven't heard of. And, uh, let's just say it's not the sound of music. So no Danny Collins is what you're saying.

No Danny Collins. It is, so it's an indie, I imagine. Yes. Is he the leader? To my recollection, not well reviewed. I believe this was a TIF premiere. Let me look at this. I would be willing to bet it was like a TIF gala on the second to last day.

No! So a director I haven't heard of. You've heard of this director. This director is an Oscar nominee. No, it played Venice in Toronto, yeah. Oscar nominee for directing or for acting. Oscar nominee for directing. Like Scott Hicks?

No. Okay. No. Someone who's definitely out of favor. Because of behavior or because of his movies? Because of the movies. Okay. There's a reason it played...

why I was like, I bet this was at TIF. Because he's Canadian. Yes. Is it the cobbler? It is not the cobbler. Is Tom McCarthy Canadian? Oh, sorry, you're right. For some reason, I attributed that to Jason Reitman.

Is it Jason Reitman? No. Okay. 2015. Canadian filmmaker. Has this director made movies that I have liked? I'm pretty sure you like the movie he was nominated for Best Director for. Okay.

Adam McGoyen. Correct. Oh, God. Trying to get me to remember. I think getting it, I think getting to the director is like getting this movie because, like, you don't know about this movie. Christopher Plummer should have on his known for the This Is Canadian Content commercial that we used to get it Tiff that I loved so much. I feel like you've gotten it if I could get you to get you to get it. guessing Adam McGuyan. The plot

description for this movie is, with the aid of a fellow Auschwitz survivor and a handwritten letter, an elderly man with dementia goes in search of the former Nazi he believes killed his family in order to carry out vengeance. That film is Remember.

Nope, never, ever, ever in a million years. Christopher Plummers known for. Absolutely not. Would not have remembered, would not have remembered, remember. That's fucking crazy, dude. Um, I'm now realizing, by the way, that the one I was going to give you, we have done as recently as 2004. So I'm going to give you something silly.

2004? 2024. Sorry. Yes. Back when we were doing this podcast in 2024. Invented the media, apparently, too, because I don't think podcasts were around then. No, I think you're probably right. Okay.

We're going to get this. We're going to get this. We're going to get this. Um, okay. So, um, how did we get here? Gabby Hoffman, one of Gabby Hoffman's early films, um, was the multi-generational film now and then, which she starred in with, uh, multiple, uh, child actors and adult actors, and also an older generation of actors, uh, one of whom was.

Chloris Leachman. So, oh. Three films, one of which is a voice performance. I'm sure that one of the voice that the voice performance is like a Pixar, but she is a voice in Beavis and Butthead to America. So I do have to guess that. It's not that, but I

respect that guess. Now I can't remember whatever she's in. Last Picture Show. Yep, correct. Her Austin win. Frankenstein. Yep, correct. Frubb Luker. I will say Spanglish just because I bet that it's boosted by all of her awards run for it. Yes, correct. Spanglish. Yes. Okay, so now I just have to guess whatever this animated thing is.

Whatever this animated thing is, yes. Oh, this is going to make me mad because it's going to be something that I should have known. I don't know if that's necessarily true. Interesting. It's not, it can't be like a Ghibli. That would be evil. It's not a Ghibli. It's not a studio Ghibli. Doing an English dub should never appear on anybody's known for. I guess I should just throw something out that's conceivable and move on. Finding Dory.

Not Finding Dory. So your year is 2013. Okay, so 2013 animated movies. That is the year of... Is it a Pixar? It's not a Pixar. Okay, that's what I wanted to know. Let me know if you want me to tell you what it is, but it is not a Pixar.

It's so hard to place animated movies and time. I know. It's the hardest. It's incredibly hard. Particularly in the teens, in the 20 teens, like, anyway. Oh, is it an illumination? Is it some type of minion grew adjacent? It's not that. No. It is not illumination. It's not a minion or grew. Okay. I can tell you her character's name is grand. Of course.

If that helps you at all? It does not. But that at least kind of says that it's humans. Because even when you have like, I guess you don't really ever have like grandparent animals. Her name isn't like discontentment or whatever. Like, you know, this is a movie about anthropomorphized concepts. I think Brave is like 2012. Not Pixar.

Oh, right, it's not Pixar. I can tell you what company it is, because I don't think it's going to help you very much. It's DreamWorks Animation distributed by 20th Century Fox. So it's not the Peanuts movie because you don't cast Chlorice Leachman to go, wah-w-wa. Right. It's had at least one sequel. It's not Puss and Boots. Nope.

Oh, and the sequel came out during COVID locked up. That's interesting. Oh, is it the Crudes? It's the Crudes, yes. There we go. That's what unlocked it for you. I've never seen any. The sequel came out during COVID.

Okay, yeah. Yes, she plays Gran in the Crudes. So congratulations. Good for her. Yeah, good for her. All right. Well done. We did it.

We did it. Come on, come on. Let's go, let's go. Vamos. Vamos. Yeah, exactly. That's our episode. If you want more of the sad us,

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