It’s our 400th episode this week, so we had to go big. What could be more fitting than a notorious bomb with major star pedigree?! No stranger to misfires, Warren Beatty nevertheless was one of the biggest names in Hollywood that could generate buzz with any project – and more prophetically in this case – could have any budgetary or creative demand met. Town and Country was a simple middle-aged sex farce (that Beatty took neither producing or writing credits…) that ultimately resulted in years of reshoots or creative redirections before becoming one of the biggest and most forgotten Hollywood box office bombs. This episode, we talk about how the film fails to riff on Beatty’s playboy star persona and the film’s troubled production history. We also talk about the numerous rewrites and reshoots that plagued the film, a foul-mouthed Marian Seldes, and and Beatty’s reactions to the film’s disastrous press cycle. Topics also include Idaho costume parties, cello tattoos, and our favorites from the previous year of the show.

Emmy winner Jeff Hiller joins us this week to talk about one of our beloved Nicole Holofcener’s earliest films. Lovely and Amazing follows a Los Angeles family of women burdened by insecurities, from the mother (Oscar nominee Brenda Blethyn) opting in to liposuction to her two adult daughters who help her with a preteen adopted sister. Debuting at festivals in 2001, the film released the next summer to strong reviews for Holofcener muse Catherine Keener and earned an Indie Spirit win for Emily Mortimer. This episode, we talk about Holofcener’s style of funny and bracing brutal honesty and this film’s depiction of actor insecurities. We also discuss Mortimer’s showcase scene mentioned in many reviews, Raven Goodwin’s terrific child performance, and some of the forgotten titles from that year’s Independent Spirit awards. Topics also include Apple Trailers, news bloopers, and tackling Isabelle Huppert.

With Spider-Man: Brand New Day arriving in theatres this week, we’re looking back at director Destin Daniel Cretton’s 2013 debut, Short Term 12. Launched at SXSW and distributed in late summer by micro-indie Cinedigm, the film earned major critical support for its portrait of a child group home populated with compelling characters, both among its residents and the counselors who care for them. Though the tiny film was an unlikely candidate to make it to the big show, Brie Larson earned a Critics Choice nomination that helped boost her Oscar-winning run for Room two years later. This episode, we talk about Cretton’s later reuniting with Larson over subsequent films and the cast full of future major names like Rami Malek and Kaitlyn Dever. We also discuss Lakeith Stanfield’s powerful (and musical) performance as the most enigmatic resident, John Gallagher Jr.’s Tony win for Spring Awakening, and the 2013 Independent Spirit Awards.

We welcome back Oscar-nominated My Year of Dicks filmmaker Pamela Ribon this week for [gasp] our very first documentary episode! In 1988, Errol Morris made a documentary hit out of The Thin Blue Line. Detailing police corruption and bias that led to the wrongful conviction of Robert W. Wood for a police shooting, the film became a non-fiction landmark for unpacking the the case’s inconsistencies and ultimately led to Wood’s vindication. This episode, we talk about how the documentary branch overhauled their nominating process in the wake of snubs for films like this and Hoop Dreams. We also discuss the stigma of non-fiction reenactments, how the film would influence later true crime doc style, and Pam’s work on her upcoming documentary, One Act. Topics also include Morris’ Gates of Heaven, Werner Herzog eating his shoe, and what the hell a malt is.

We’re back talking about Nicole Kidman’s post-Oscar years this week and Griffin in Summer filmmaker Nicholas Colia is here to join us! After winning her Oscar for The Hours, each of the many projects Kidman attached herself to carried some degree of pedigree and buzz. One of them just happened to be a famous disaster: 2004’s The Stepford Wives. A remake directed by Frank Oz and scripted by Paul Rudnick, the film fell subject to bad test scores and a barrage of reshoots that ultimately resulted in a ho-hum release and a notorious production. This episode, we talk about the gossip around the the numerous reported on-set clashes and how the final film differed from its first versions. We also discuss Kidman’s post-Oscar aughts schedule, the screen debut of Faith Hill, and Oz’s non-puppet directorial efforts. Topics also include The Producers, pre-Obama gay politics, and the great Griffin Nafly.

After becoming a critical and arthouse sensation with Memento, Christopher Nolan leaped to studio filmmaking with American remake Insomnia. The film (based on the 1997 Norwegian film) stars Al Pacino as a corrupt cop sent to Alaska to solve a murder, only to be caught in the web of the killer (Robin Williams). Though a successful summer release, the film did not ultimately receive the enthusiasm of Nolan’s previous effort, but it would nevertheless catapult him towards his Gotham directing duties. This episode, we’re talking about the rise of Nolan and how this film stands as one of his more flawed. We also discuss Williams’ era of unsettling characters and subject matter, Hilary Swank between her Oscar wins, and Pacino’s downshift here from bigger late 1990s performances. Topics also include Memento‘s awards run, old age Makeup nominees, and The Insider.

Letterboxd head of editorial Mitchell Beaupre returns to us this week to close out Pride month with one of Luca Guadagnino’s most divisive films. In 2024, with audiences still under the spell of Challengers, the director also brought to the screen a long-gestating passion project: an adaptation of William S. Burroughs’ Queer. Starring Daniel Craig as Burroughs alter ego William Lee, the film baroquely mines queer longing in an addiction story that earned as many fans as it did detractors. This episode, we talk about Guadagnino’s preference for Queer over Challengers in the 2024 race and how Craig was in the Best Actor race until the final minute. We also talk about expectations that Guadagnino would return to Call Me By Your Name territory, how this film might troll critics of that film’s sexual modesty, and Lesley Manville’s brief turn as wild doctor in the jungle. Topics also include Drew Starkey’s breakthrough role as Allerton, Craig plagued by Bond questions, and Jason Schwartzman playing gay in a fat suit.

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 giving great performances as the parents, the film was a gently composed gem that earned its share of ardent fans but failed to garner Oscar nominations. This episode, we talk about Mike Mills’ emotionally expansive directorial efforts, starting with his 2005 breakthrough Thumbsucker. We also discuss Woody Norman’s surprisingly naturalistic performance, the film’s optimistic vantage on the mind of America’s youth, and how the film was one of many that struggled to gain an audience amidst the Omicron season. Topics also include A24 in 2021, CODA as the year’s anointed movie about family, and Mills’ upcoming Criterion box set.

We’re back to discussing the filmography of director Ridley Scott this week, though this episode was recorded… before the news of his Honorary Oscar. Nope, there is also a new riff on a Robin Hood this week, so we’re talking his ongoing collaboration with Russell Crowe and their 2010 take on the fable. Arriving at the beginning of the summer, the film did respectable business but failed to match the respect and Academy love for their first epic together Gladiator. This episode, we discuss the film’s intended origins as a Sheriff of Nottingham film and its final approach as an ensemble piece of political intrigue. We also talk about Oscar Isaac’s eyeliner-forward performance, the miscasting of Cate Blanchett as a Marion more derivative of other female action characters, and Scott’s stretch of darker movies post-Gladiator. Topics also include the 2010 Cannes Film Festival, the non-controversy of The King’s Speech’s set locations, and slow mo bow and arrows.

With Steven Spielberg returning to theatres with this week’s Disclosure Day, we’re taking the rare opportunity to discuss one of his films! Kyle Amato returns to talk about Spielberg’s take on Roald Dahl’s classic children’s fable The BFG. The film was a reuniting of Spielberg with his recent Oscar winning actor Mark Rylance in the role, all brought to life through ever-evolving motion capture technology. While Spielberg has found some of his greatest successes in family friendly fare, The BFG was one of his most underwhelming at the box office and went quickly forgotten. This episode, we’re talking about Spielberg’s less well-received films and the many flaws that make this film feel like one of his weakest. We also talk about Rylance’s Tony tally prior to his Oscar win, motion capture discourse, and the dire summer offerings from 2016. Topics also include Penelope Wilton as a Queen Elizabeth stand-in, Dahl adaptations, and Backrooms.