Boogie Nights 1997
Scotty J, the boom operator — a sensitive, funny, devastatingly sad portrait of a man who just wants to be accepted. Sean saw it in a theater where a man stood up and clapped when Scotty first appeared. Green on sight.
The Big Picture · Hall of Fame · Discussion
January 30, 2024/ 95 min/ Sean Fennessey · Amanda Dobbins
Ten years after his death, Sean and Amanda walk Philip Seymour Hoffman's entire filmography — from a 1991 golf micro-movie to his last le Carré spy — then argue it down to a Hall of Fame of ten.
52 films across 2 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.
The Philip Seymour Hoffman Hall of Famethe ten inductees
Scotty J, the boom operator — a sensitive, funny, devastatingly sad portrait of a man who just wants to be accepted. Sean saw it in a theater where a man stood up and clapped when Scotty first appeared. Green on sight.
Freddie Miles, bounding out of the convertible — 'don't you want to fuck every woman you see just once?' Takes the movie from a cast of stars; the Arrow screening had the whole room erupt.
Lester Bangs, the calm guardian angel of the film. Every line quotable; the mainstream-movie/awards fusion the hosts 'all saw at Christmas together.'
Sandy Lyle — 'make it rain,' then 'raindrop!' clanking off the backboard from 38 feet. A real physical-comedy performance, and the male version of the Judy Greer best-friend archetype.
Truman Capote — the full transformation in voice, posture and weight that won Best Actor. In for the win, even though Sean stays mixed on the film itself.
Andy, half of a pair of brothers robbing their parents' jewelry store — a desperate man who only unravels further. One of Sidney Lumet's last films; a credible romance with Marisa Tomei.
Gust Avrakotos — the electric office scene with John Slattery ('I learned Finnish!'). The YouTube-generation clip that carries an otherwise mediocre film; led to Willy Loman on Broadway under Mike Nichols.
Caden Cotard — the internal, restrained, quiet-and-sad counterweight to Charlie Wilson. A twin-killer with it for Sean and Amanda; a movie its lovers love forever.
Art Howe — does with stillness what another actor would need scenes for, the disgust visible behind the desk at Brad Pitt. A Bennett Miller reunion.
Lancaster Dodd — automatic green. The wedding speech, the processing scenes, the final song; the fullest showcase of everything he did, and both hosts' likely No. 1.
The rest of the filmographyconsidered on air, not inducted
One of a few hard-to-see micro-movies at the very start, before he was really himself on screen.
Another obscure early credit; title taken from the on-air mention (verify).
Small, hard-to-find early film.
His first big Hollywood movie — a roadie for Steve Martin's traveling televangelist. Very small part.
The sniveling, privileged George Willis Jr. opposite Chris O'Donnell and Pacino — a breakthrough small part. Yellowed for the turning point, then cut as sentimental.
A minor studio comedy from a big movie-going year for Sean.
Minor early credit.
A John Cusack thriller-comedy; all pretty minor.
The Alec Baldwin/Kim Basinger remake — a heist guy who gets shot and kicked out of a car by Michael Madsen. Not in.
A skeleton-key three-scene turn as a rehab patient bonded to Meg Ryan's character; the role casting directors noticed. Not in.
A very small part in Robert Benton's Paul Newman film.
PTA's first feature — the Young Craps Player who mercilessly mocks Philip Baker Hall across the table. Honorary yellow, then cut.
Dusty Davis — the part he took to bank enough money to move back to New York. Fun, but not in.
A star-studded thriller (Kyra Sedgwick, Stanley Tucci, Robin Tunney); not a great movie, not in.
Brant, the Coens' obsequious assistant — the office-tour scene Sean calls the funniest of the 1990s. Yellowed, then cut, fondly.
A mansplaining ex-boyfriend named Sean, later glimpsed protesting on TV. Not in.
Todd Solondz's discomforting film, lost to time and physical media — a very notable, very uncomfortable role. Not in.
Amanda's teenage favorite, which the hosts agree absolutely stinks and is even a little dangerous. Not in.
A Joel Schumacher drama — a drag queen next door to De Niro's stroke-stricken cop. A good performance in a movie that hasn't aged well. Not in.
Phil Parma, the nurse tending Jason Robards — his most open-hearted character, entrusted with holding a whole section of the film together. Yellowed, then cut once Boogie Nights and The Master covered the PTA slot.
A tortured writer in David Mamet's lightly satirical romantic comedy opposite Sarah Jessica Parker. Good movie, not in.
A widower huffing gasoline through his grief, in a film by his friend Todd Louiso. Punishingly sad; another gym-basketball scene. Not in.
Dean Trumbell, the mattress-store sex-line operator — the phone-call explosion that changes the movie's register. Not quite in, but a great scene.
Freddy Lounds, a disgusting tabloid man disfigured by Lecter, under Brett Ratner. Not in.
Jacob Elinsky, the private-school teacher and trust-fund fourth wheel to Edward Norton and Barry Pepper. One of Sean's 25 favorite films; he finds the pathos, but it's not a Hall of Fame lead. Not in.
Another very good indie in his one-for-them-one-for-me stretch. Not in.
An earnest documentary he hosted and helped make about the 2000 election — a bizarre time capsule where you see the real Hoffman for a long stretch. Not in.
A preacher in Anthony Minghella's celebrated adaptation — a Ripley reunion with Jude Law. Not in.
A very small part in the comedy. Not in.
Owen Davian — the sinister whisper and 'I'm going to find her and hurt her.' The whole defense of the film; possibly his most widely seen movie. Yellowed, then cut.
A sad sibling drama with Laura Linney (a banned Christmas-Day pick). Recommended, but a red.
Father Brendan Flynn, sparring with Meryl Streep in some of the best-acted scenes of the decade — but neither host loves the script. Out.
Just a cameo; cut from consideration.
The titular Max — his only animated feature, a sad, very good film. Not in.
The Count, the pirate-radio DJ, in one of the lesser Richard Curtis movies. Fun, not in.
His directorial debut — worth seeing for John Ortiz, his real-life close friend. Not in.
A James Carville-esque campaign manager dueling Paul Giamatti in Clooney's flawed political drama. One five-minute scene of pure Hoffman; can't in good faith go in.
An unshowy turn in an indie about classical musicians; feels like he's there so the movie can get made. Notable, not in.
Plutarch Heavensbee, the gamemaker — he brings the gravitas the franchise needs. Fine, not in.
A grimy Philly crime saga, John Slattery's directorial debut and a Charlie Wilson reunion. Not in.
A dissolute, resigned German intelligence officer in the le Carré adaptation — his final completed lead, with a small, devastating breakdown. Green through the walk-through, then cut in the final round.
Technically his last film, though he didn't complete his work on it. Not in.
Also mentioned raised along the way
Mentioned in passing Licorice PizzaZodiacThe Zone of InterestBeing the RicardosManhunterAce Ventura: Pet DetectiveEyes Wide ShutA Few Good MenChicagoThe HangoverGroundhog DayAmerican FictionRustinNyad
Not films filtered out: TV, games, ads
Theater Death of a SalesmanTrue WestAll My Sons
TV Empire FallsArthurHouse of Cards
Ads Stick the LandingTremfyaState FarmBoar's HeadFanDuel