The 92nd Academy Awards did the unbelievable–they gave Best Picture to the actual best picture. This week we’re celebrating Parasite’s Oscar triumph and Bong Joon-ho’s sweep at an overall uncontroversial and pretty solid Oscars. Then we discuss Birds of Prey’s unfortunate box office performance and what it means for the DC cinematic universe when even their good movies don’t do well. Is it just a problem with this movie? Or DC movies? Or is this superhero fatigue? Join us as we discuss all this and more!
This week we take a look at Charlie’s Angels crashing and burning at the box office, and wonder what went wrong with Elizabeth Banks’ attempt to revive the franchise. We also discuss Ford v Ferrari emerging as an Oscar contender, and the state of the Oscar race as we get into the heart of award season, and somehow, stay out of the pit of despair!
Jourdain Searles on Marriage Story: https://www.nytimes.com/2019/11/12/opinion/marriage-story-kramer-vs-kramer.html
The Bryan Singer expose finally arrived, published by The Atlantic after Esquire, or rather, Hearst Communications, declined to release it. Alex French and Maximillan Potter put a year’s worth of work into connecting the dots and laying out the trail of human destruction strewn in Bryan Singer’s wake. We discuss the article, Singer, the system that enables and protects him, and how that system will continue so that people can make money and win prizes. There is also some discussion of the Oscar nominations, which are also tainted with Singer’s presence because Bohemian Rhapsody earned five nominations, including one for Rami Malek and another for Best Picture. So one year after #MeToo and #TimesUp, this is what’s happening. Listen as we try and stave off existential despair and the creeping nihilistic belief that nothing is getting better. This is a tough subject, so be kind to yourselves.
Be Kind Rewind breaks down Harvey Weinstein’s Oscar campaigning: https://www.youtube.com/watch?v=6tihITlPAn4
If you are a survivor, and need to talk, RAINN offers 24/7 support: https://www.rainn.org/
In 1989, Spike Lee’s masterpiece Do the Right Thing premiered at Cannes, kicking off a year of controversy. Film critics blamed any potential race riots on Lee, the Cannes jury awarded Steven Soderbergh’s sex lies and videotape the Palme d’Or, something Spike Lee is still salty about, and then in 1990 came a truly momentous Academy Awards. This week, we take a look at the 62nd Oscars, honoring the films of 1989. This is the year Driving Miss Daisy won Best Picture and Do the Right Thing wasn’t even nominated. It’s the year Harvey Weinstein flexed real campaign muscle, guiding My Left Foot stars Daniel Day-Lewis and Brenda Fricker to Oscars–something he would lord over women in the industry for decades to come. With Spike Lee once again in contention this year, and up against the Miss Daisy-esque Green Book no less, we examine the narratives and Oscar strategies that took hold in 1990 and continue to impact the Academy Awards today.
Here is Matt Zoller Seitz on why Leonardo DiCaprio’s self-flagellating performance in The Revenant is bad for acting: https://www.rogerebert.com/mzs/why-leo-winning-an-oscar-for-the-revenant-would-be-bad-for-acting
And here is Natalie Walker’s epic Twitter thread mocking film stereotypes: https://twitter.com/nwalks/status/736046606940798977
Steve McQueen’s new film, Widows, is not performing well at the box office, which could doom its Oscar hopes. It shouldn’t! But it does! Because the Oscars are ridiculous and only getting more so as the Academy tries to find ways to combat the slipping ratings which are still really high. This week Kayleigh Donaldson and Sarah Marrs discuss Widows, the Oscars, that proposed “popular Oscar” category everyone is ready to throw out of a moving car, and how box office and popularity impact award campaigns. So join us for the first in a series of discussions about the upcoming Oscars and how they will be different from any previous Oscars ceremony. Also: GO SEE WIDOWS.
Kayleigh’s Widows review can be found here.
Sarah’s Widows review can be found here.
Yell at Kayleigh here: @Ceilidhann
And yell at Sarah here: @Cinesnark