The Big Picture · Review · Discussion · Interview
November 16, 2021/ 83 min/ Sean Fennessey · Amanda Dobbins
The show goes back to its Oscar roots, 131 days out from the ceremony. Belfast as the early front-runner, a run through the ten likely Best Picture nominees, a Will Smith stock check, and Sean's interview with Alison Klayman about her Alanis Morissette documentary, Jagged.
47 films across 4 segments.
AI-generated This episode was transcribed and analyzed with AI models. The matches aren't perfect — expect the occasional misheard title or a link to the wrong film.
Belfastthe early front-runner
Kenneth Branagh's autobiographical film, told from the perspective of nine-year-old Buddy as the Troubles break out in 1969 Northern Ireland. Sean saw it at Telluride; a sweet, sincere crowd-pleaser scored largely by Van Morrison. Amanda loved it (and the two very beautiful parents) until she remembered it might win Best Picture. Jude Hill, Caitríona Balfe, Jamie Dornan, Judi Dench, and Ciarán Hinds all in the awards mix.
The inevitable comparison: Alfonso Cuarón's black-and-white childhood remembrance. Sean calls it stylistically and intellectually more dynamic than Belfast.
Amanda's other touchstone: political turmoil swirling around a small kid, hitting the same crowd-pleasing sweet spot, minus the Hitler jokes.
Cited as the kind of small, deeply personal film the Academy has rewarded against a franchise-dominated industry.
The other 'for better or worse' precedent: an intimate, small-cast winner Belfast has something in common with.
The Branagh problema strange 20-film résumé
The bravura breakthrough; the hosts agree his Shakespeare adaptations are his best films.
Amanda's favorite of the big-budget Shakespeare, ridiculous but fun, from the Emma Thompson era.
Part of the case for Branagh as the modern Olivier and Shakespeare's ambassador to pop culture.
Sean had just watched it, an Emma Thompson neo-noir/screwball that has no idea what it wants to be.
The famous overwrought bomb that followed.
Exhibit A for the decade of commercial work-for-hire that left him 'in the wilderness.'
Kevin Costner and Chris Pine rebooting Jack Ryan; should have worked, didn't.
The Lily James Disney adaptation, a big hit the hosts thought was fine.
Amanda's beef: he 'ruined the canon.' A solid hit all the same.
One of the most reviled films of 2020, a Disney+ casualty of the pandemic.
Invoked via Greg Wise (Mr. Willoughby), whom Emma Thompson later married. Part of Amanda forgiving Branagh.
The Best Picture raceten nominees, mostly still unreleased
Jane Campion's return to form, widely hailed; the other presumed front-runner. Neither host has seen it yet; it opens December 1. Sean's nagging hunch: a late Benedict Cumberbatch surprise.
Opening at week's end; treated as a Best Picture lock on the strength of Will Smith.
The only wide-release blockbuster with real clout in the race, the 'Mad Max spot.' Sean doesn't think it's a lock; Amanda talks herself into it.
Unseen but penciled in on Spielberg and Kushner alone. Amanda is scarred by Ariana DeBose's Oscar pre-show and pinning her hopes on Rachel Zegler.
Maggie Gyllenhaal's Elena Ferrante adaptation, which Sean thought was fantastic; Olivia Colman all but guarantees it a slot.
Joel Coen's black-and-white Macbeth with Frances McDormand and Denzel Washington; very warm reviews from the New York Film Festival, A24 and Apple.
Aaron Sorkin on Lucille Ball and Desi Arnaz; a strong first screening despite doubts and rough trailers.
Guillermo del Toro, Academy-beloved; unseen but slotted in as one of the two most likely remaining nominees.
Apple's Sundance buy; not the phenomenon Ted Lasso was, but 'if people actually watch it, they'll enjoy it.' Amanda's tenth pick as a test of Apple.
Adam McKay's DiCaprio/Lawrence satire; star-studded but a comedy, which historically doesn't play: 'if it's more comedy than commentary, it might be on the outside looking in.'
Mixed reviews, but the hosts loved it. Amanda's rant: bully an Academy voter in your life into embracing it, and put Jared Leto back at the center of the race.
Paul Thomas Anderson's new film, another Phantom Thread situation where it's never obvious when the Academy logs on with PTA.
Discussed the prior week; perhaps too weird for Academy tastes ('or boring, if you're Amanda').
Rebecca Hall's directorial debut, just on Netflix. Sean rates the performances, Tessa Thompson and especially Ruth Negga, over the film; a possible below-the-line play in costume or production design.
Lin-Manuel Miranda's Jonathan Larson quasi-musical with Andrew Garfield; Sean liked it a lot. Second-tier, likely just outside.
Pedro Almodóvar's New York Film Festival entry, out at year's end.
Benjamin Cleary's soft-sci-fi Apple film: Mahershala Ali's first solo lead, a standout performance.
George Clooney's J.R. Moehringer adaptation with Ben Affleck; delightful, but not a Best Picture contender.
Joe Wright's musical with Peter Dinklage.
Denzel Washington directing, Michael B. Jordan starring; Denzel's own voiceover closes the trailer.
Unseen; Sean doubts it's an Oscar movie but loves the trailer.
Asghar Farhadi's latest morality play, 'the most consistent filmmaker in the world.' A Best International Feature contender Sean thinks belongs in the Best Picture race.
A box-office bomb Sean rates among the year's best; a marketing failure for leaving Ben Affleck out of the trailer.
Sean Baker's film with Simon Rex; Sean has a lot of feelings, saved for next week.
Mike Mills's new film: wonderful performances, makes them feel good about the world, but doesn't read as an Oscar contender.
Wes Anderson's ensemble, considered slight by some and doing soft business, but as good to Sean's taste as most of the field.
Alison Klayman on Jaggedthe Music Box entry on Alanis Morissette
Klayman's intimate portrait of Alanis Morissette around Jagged Little Pill, part of Ringer Films and HBO's Music Box series (Sean is a producer). Built around a two-day master interview and hundreds of hours of Morissette's own storage-unit archive, shot as one of the first COVID-era productions. Morissette is not promoting the film.
Klayman's earlier subject-driven portrait, invoked for how she embeds with her subjects.
Her Steve Bannon film: the other case where the main character didn't tour the movie with her.
Todd Haynes's doc, cited for the 'only people who were there' approach Klayman shares.
Klayman's last-great-thing: a ~40-minute visual album by Topaz Jones and Rubberband, inspired by the Black ABCs, which she was judging for DOC NYC.
Also mentioned raised along the way
In passing EternalsHustlersThe Trial of the Chicago 7Phantom ThreadCitizen KaneMad Max: Fury RoadRoad House
Not films filtered out: TV, games, ads
TV Ted LassoBehind the MusicThe Tonight Show Starring Jimmy FallonMusic Box
Music Jagged Little PillAll Too WellVery Necessary
Ads Boar's HeadCarvanaThe Press Box