Podcasts about hamnet

Claire and Gavia review some highlights from the 2025 London Film Festival, ranging from big upcoming releases (the new Knives Out movie Wake Up Dead Man) to awards contenders (Chloé Zhao's Hamnet) and exciting indie titles like Kelly Reichart's heist drama The Mastermind, and the queer BDSM romcom Pillion, starring Alexander Skarsgard.

The last Tuesday of the month means it's time for our previews of coming attractions, and to greet the first month with actual for-real blockbusters in a long time, Brennan is joined by Andrew Milne and Gavin McDowell. And while Wicked: For Good and Zootopia 2 are destined to be two of 2025's biggest box office successes, what the team really wants to do is go long on Hamnet, and the nature of making films about William Shakespeare's life and art. Those and other November releases are all covered in the episode, but before that happens, the trio shares their catastrophic picks for a movie roundtable: Gavin with the racist, sexist, and homophobic 1968 crime picture The Detective, Andrew with both parts of Zack Snyder's Rebel Moon in their extra-length director's cut form, and Brennan with the brand-new comic disappointment Good Fortune.

Chloé Zhao discusses “Hamnet”, a powerful tale of love, grief, and artistic transformation, at the 20th Rome Film Fest. The post “Hamnet”, interview with the director Chloé Zhao appeared first on Fred Film Radio.

Chloé Zhao discusses “Hamnet”, a powerful tale of love, grief, and artistic transformation, at the 20th Rome Film Fest. The post “Hamnet”, interview with the director Chloé Zhao appeared first on Fred Film Radio.

Chloé Zhao discusses “Hamnet”, a powerful tale of love, grief, and artistic transformation, at the 20th Rome Film Fest. The post “Hamnet”, interview with the director Chloé Zhao appeared first on Fred Film Radio.

Chloé Zhao discusses “Hamnet”, a powerful tale of love, grief, and artistic transformation, at the 20th Rome Film Fest. The post “Hamnet”, interview with the director Chloé Zhao appeared first on Fred Film Radio.

Chloé Zhao discusses “Hamnet”, a powerful tale of love, grief, and artistic transformation, at the 20th Rome Film Fest. The post “Hamnet”, interview with the director Chloé Zhao appeared first on Fred Film Radio.

Chloé Zhao discusses “Hamnet”, a powerful tale of love, grief, and artistic transformation, at the 20th Rome Film Fest. The post “Hamnet”, interview with the director Chloé Zhao appeared first on Fred Film Radio.

Well, here we are. Chloe Zhao's Hamnet - one of the most critically acclaimed movies of the year - premiered at the BFI London Film Festival two weeks ago. Since it's premiere at Telluride back in late August, this movie has been billed as a locked-in OSCAR contender and potentially one of the biggest threats to WIN Best Picture. Reviews like that always get on my nerves because it's classic film festival overhype. You watch a movie surrounded by all the cast & crew and thousands of like-minded movie fans and, inevitably, the hype is going to be through the roof. All that being said, I watched this movie at a film festival as well... so I'll be telling you all today whether the hype was real. I've been a little nervous going into Hamnet because, while the trailers have excited me and the reviews were certainly promising, I am neither a Chloe Zhao guy or a Shakespeare guy. Zhao's movies have always felt cold to me and I truly believe that Nomadland is probably one of the worst Best Picture winners.... of all-time! But, I'm happy to report that Hamnet is the first time that I've truly been able to connect with one of her movies. Find out why in this review!Hmanet:Directed by: Chloé ZhaoScreenplay by: Chloé Zhao, Maggie O'FarrellBased on the novel "Hamnet" by Maggie O'FarrellProduced by: Liza Marshall, p.g.a., Pippa Harris, p.g.a, Nicolas Gonda, p.g.a., Steven Spielberg, p.g.a., Sam Mendes, p.g.a.Executive Producers: Laurie Borg, Kristie Macosko Krieger, Chloé ZhaoMusic by: Max RichterDirector of Photography: Lukasz ZalEdited by: Alfonso Gonçalves, Chloé ZhaoCasting by: Nina GoldProduction Design by: Fiona CrombieCostume Design by: Malgosia TurzanskaCast: Jessie Buckley, Paul Mescal, Emily Watson, Joe Alwyn, Jacobi Jupe, David Wilmot, Bodhi Rae Breathnach, Olivia Lynes, Freya Hannan-Mills, Noah JupeSynopsis: The powerful story of love and loss that inspired the creation of Shakespeare's timeless masterpiece, Hamlet.

On this week's episode, I'm joined by Katey Rich and Christopher Rosen of The Ankler to preview the awards season and give you tips on what to check out (spoiler: Hamnet's gonna be a big one this year) and discuss the exquisite art of Oscar prognostication. (If you enjoy this episode, make sure to check out The Ankler's Prestige Junkie newsletter and show.) For the record, you can see my nomination guesses here at the Ankler Pundits site. One of the things we delve into is the weird position Oscar pundits find themselves in, as they are torn between portraying the world as it is and trying to subtly change things to reshape the world in their image, as the predictions themselves have been known to shape the outcome of races. And that's why I am staking a claim here: Delroy Lindo deserves a god-dang Oscar nomination for his work in Sinners.  Look, don't get me wrong: Lindo has deserved Oscar gold for some time. He absolutely deserved it for his work in Da Five Bloods, for instance. But I celebrate the man's entire body of work. I would give him a lifetime achievement award simply for his pronunciation of “sesame cake” in Congo. The man's a damn legend and it's about time the Academy gave him his due.  But he especially deserves it for the work he does in Sinners, a movie that seems lined up to snag a whole boatload of Oscar nominations, including best picture. Yes, yes: Michael B. Jordan's dual performance as Smoke and Stack is the showcase of the film. But Lindo's turn as Delta Slim embodies the soul of the movie; he is the embodiment of the life of a musician, of a black musician, in the American South at a time when simply being black could mark you for death. And he's just funny as hell in the role, delivering these slightly off-kilter line reads that no one else could have pulled off.  Give the man his Oscar gold already! At the very least, give him the nomination. The people demand it! Leave your favorite Lindo performance in the comments, if you would. I'd like to prove that this man deserves his plaudits. 

Ep. 356: Alissa Wilkinson on The Perfect Neighbor, Is This Thing On, A House of Dynamite, Diane Keaton, Frankenstein, Sphere Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. As the fall season gets underway and movies make their way to screens and streaming, I was happy to talk with Alissa Wilkinson, a movie critic at The New York Times and author of We Tell Ourselves Stories: Joan Didion and the American Dream Machine. Among the titles we discussed were The Perfect Neighbor (directed by Geeta Gandbhir), Is This Thing On? (Bradley Cooper), A House of Dynamite (Kathryn Bigelow), and—in memory of Diane Keaton's recent passing—Reds (Warren Beatty). We also think about the prominence of movies playing off mothers and fathers in extreme circumstances, such as Hamnet, Die My Love, If I Had Legs I'd Kick You, and the postpartum-inflected Frankenstein. Plus, I ask about Wilkinson's trip to Sphere—just Sphere—in Las Vegas. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

It's that time of year! With so many new films, television, music, theater and art coming out this season Chioma sat down with Taylor Antrim, Deputy Editor at Vogue, and Chloe Schama, Senior Editor at Vogue, to get the ultimate breakdown of everything they can't wait to watch, read and see this fall. There's a stacked film lineup for the rest of 2025. We're looking forward to Marty Supreme starring Timothee Chalomet and Gwenyth Paltrow and The Testament of Ann Lee starring Amanda Seyfried, along with Chloe Zhao's Hamnet starring Paul Mescal and Jessie Buckley.Our editors are also looking forward to new seasons of some of their favorite shows, like Season 3 of Belfast-based cop drama Blue Lights, Season 2 of Nobody Wants This, and Season 3 of The Diplomat. For books, Chloe highly recommends Heart the Lover by Lily King.There's also so much more we discuss, tune into the episode to hear more of what we're looking forward to this fall!The Run-Through with Vogue is your go-to podcast where fashion meets culture. Hosted by Chloe Malle, Head of Editorial Content, Vogue U.S.; Chioma Nnadi, Head of British Vogue; and Nicole Phelps, Director of Vogue Runway, each episode features the latest fashion news and exclusive designer and celebrity interviews. Learn about your ad choices: dovetail.prx.org/ad-choices

Monster: The Ed Gein StoryGood Fortune - Ein ganz spezieller SchutzengelJane Austen und das Chaos in meinem LebenAfter The HuntThe MastermindBallad of a Small PlayerLFF-Talk Hosted on Acast. See acast.com/privacy for more information.

Hamnet, Rental Family, Is This Thing On?, The Voice of Hind Rajab, Sentimental Value, Hedda, The Secret Agent and more films, restaurants and travel all reviewed LIVE! from the 26th Woodstock Film Festival.

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Alyssa Rosenberg, Sunny Bunch and Peter Suderman, the three panelists of the outstanding film podcast Across the Movie Aisle. I really enjoy the show and have been a longtime fan of their individual work.I think that they're a group with genuinely diverse opinions but who have a lot of love for cinema and as a result have some of the most deeply interesting conversations about the art form of any show I listen to. The show just split off from The Bulwark's network and is striking it out independently. Do check them out!This interview has been condensed and edited. Hey, Across the Movie Aisle. Thank you so much for coming on Numlock. I really appreciate it.Absolutely.Thank you for having us.Yes, this is the first three-on-one conversation that I've ever done here, so we're gonna have to juggle a bit. Either way, I am just such a fan of the show. I really, really enjoyed it, subscribed to the Bulwark for it when I heard that you guys were going independent. I was really excited to see what was motivating that, what opportunities you were seeing out there. It's just such a really fun program, and I think it's so unique in the space.Before we get into talking about the movies, do you wanna talk a little bit about where this show came from, where it started, then what you would say your perspective on the film industry is?Sonny: Sure.Alyssa: Who wants to tell the story?Sonny: The origin of the show was back in 2019. I started working for an independent film studio that's based in Dallas, where I live now. I moved here for the job. The pitch was, “it's like Fangoria,” but for action movies and thrillers and heist movies, that sort of thing. And one of the things I wanted to do when we came over was a little podcast network. We were gonna have some shows, some storytelling things, et cetera. And one of the things I had wanted to do for a while (and hadn't really had an outlet for) was a show I had envisioned as like Crossfire or McLaughlin Group or something like that, but by way of movies.So Across the Movie Aisle — I've always shorthanded it as Siskel and Ebert meets Left Right Center. And the idea here is that I am a conservative. I don't know how other people would describe me, but I still think of myself as a center-right person. Alyssa is the center-left person.Peter: Would you even say that you are a neoconservative?Sonny: Well, I'm a neoconservative with libertarian tendencies, which is a funny thing.Peter: “You work at the Weekly Standard,” is a good way to think about your politics? And they basically haven't changed since you worked at The Weekly Standard. Is that fair? That's the long and the short of it.Sonny: Then Peter is whatever Peter is. I'll let him define himself. But the idea here was you have three people with differing political views talking about movies and other stories about movies. The show has two segments. The first is called Controversies and Nontroversies. The second is a review. And the Controversies and Nontroversies segment was initially thought of as we tackle some dumb internet outrage of the day and decide if it's really worth being mad about.And that evolved into something slightly different, right? Right, guys? I feel like it's now more about the business of Hollywood.Alyssa: Yes, exactly. But I think it's worth noting that our story actually starts way before 2019. The three of us were all critics in some respect or other. I was over at ThinkProgress running their culture and sports verticals. Sonny, were you at the Weekly Standard when we started or were you at the Free Beacon then?Sonny: I think I was at the Washington Free Beacon when we met. So it must've been 2012 or 13.Alyssa: The three of us were going to screenings every week and somehow just gravitated towards each other. We would sit together. We were the people who were hanging out and hashing things out together after the screening ended. When I moved to the Washington Post, I ended up bringing Sonny over as a contributor to the blog that I was working on there. They were invited to my wedding. We were authentically contentiously friends years before we started the podcast.I think that's been a little bit of the special sauce for us, right? We are capable of having conversations that are somewhat harder to have elsewhere because (even before we started working together) there were five, six years of trust built up in in-person conversations and discussions over beers at the really terrible bar near the former AMC in Friendship Heights. Nobody is here on this podcast to blow each other up. But it's also not like “We're friends for the camera!”I think the show has always been like both a reflection of our dynamic. It's also the way that we hang out every week, even though Sonny lives in Dallas, and Peter lives in Boston some of the time. So for me, it's like my night out.I mean, as a listener, I really find the appeal to be exactly that. I think that having different perspectives on something as universal as film makes the show super compelling to listen to, even if I don't always necessarily agree with the perspective on it. What makes movies just so good to view from multiple different angles? There are lowercase “c” conservative films, there are lowercase “l” liberal films, that stuff. How do you guys find approaching the current state of the film industry from these different points of view?Peter: Alyssa talked about how our story goes back even before 2019, when the podcast started. And just for people who may not be familiar with the dynamic of Washington that all of us came up in in our 20s, Alyssa was working for ThinkProgress, which was the journalism arm of the Center for American Progress, which is this leading democratic or democratic affiliated think tank. Sonny was working for the Weekly Standard and then for the Washington Free Beacon, these feisty, conservative journalistic outlets.I actually started writing movie reviews for National Review for a couple of years. When I moved over full-time to Reason Magazine, which is where I've been for more than 15 years now, and also to the Washington Times, which is someplace that both Sonny and I wrote for. It's a conservative-leaning paper that has undergone many transformations. If you live in Washington, your social circle and your conversations and your life are so frequently segmented by politics.What we liked about being friends with each other and seeing movies with each other was that we saw that it didn't have to be the case. Movies and art and pop culture, even disagreements about them, were ways that we could come together and maybe not even agree, but like learn about each other. We're really good friends, but we also like each other's minds. This is something that is really important and drew us all together. I have learned a lot about movies from Sonny. I have learned about culture from Alyssa. I don't know if they've learned anything from me. Maybe they've been annoyed about how I'm fine with A.I.Having those perspectives, it's not just that it's like, “Oh, that's nice that you're a little different.” This is a learning opportunity for all of us. It also makes the act of watching movies together much richer. When you're watching the movie, if you're watching it next to Alyssa, I know what she's thinking. Maybe not what I'm thinking, but it's like having another set of eyes. If you're a critic, if you're somebody who likes movies, if you are somebody who likes movies for the social aspect of them, seeing them with somebody else and talking about them afterwards just makes it so much more enjoyable. The fact that we then get to have that conversation in public for an audience that seems to enjoy this is really rewarding.Alyssa: I have a very hard time with certain kinds of violence in movies. But I can sit in a theater with Peter, and he can tell me when I need to cover my eyes, but also when I'm gonna be okay when it's over. And he's always right, right? And that's the thing that we get.Peter: But also when we see the Taylor Swift movie, I show up, and Alyssa has friendship bracelets for us. Everybody's bringing something to the party here.Alyssa: Peter, you joked about whether or not we've gotten anything from you. And I actually think that in some ways, I'm the one of us whose politics and aesthetics have changed most as a result of doing the show with both of you. I came up in an era of lefty cultural criticism when there were real incentives for tearing things apart. And I think I, in some ways early in my career, helped advance a fairly doctrinaire vision of what political conversations about art should be. And I have some regrets about some of the things that I wrote and some non-regrets too. I did a lot of work at that point in my career that I liked a lot.But one of the things I've come to believe in my conversation with these guys is that art is at its most politically powerful not when it affirms an agenda or a worldview that is defined by a political movement, but it is at its most powerful and interesting when it creates space for conversations that are not possible in conventional political formats and political venues. I think the unpredictability of movies and the inability to shove movies neatly into a partisan schema is where their power comes from.It is not in being subordinate to an agenda, but in opening the space for new possibilities. And I think that having a space to come to that conclusion made me a better critic and a better person. Maybe less employable as someone who writes about this stuff full-time in a predictable way. But I really enjoy seeing the world through the lenses that Peter and Sonny helped me apply to all of this.Peter: And just to underline that really quickly, a little bit more. One of the things that brings all of us together is that we are all three people who moved to Washington to work in political journalism, to work in discourse about politics. We have very strongly held beliefs. At the same time, I think all three of us come to movies, to art and to culture thinking, “You know what, you can make good art. You can make a great movie that maybe I find doesn't in any way align with my beliefs, right?” It has nothing to do with my political world or is even critical of my political worldview, but it's still a great movie.And this is a thing that you see very rarely in Washington and political discussions of art and film, but also in criticism. You have so much criticism that is out there, especially in the movie criticism world, that is just straightforwardly, politically determined. I don't think that that is the best way to approach art and to live a life that is about art because. Of course, it engages with politics. And of course you have to talk about that. And of course, you have to deal with that, but it's not just politics. If what you want from a movie is for it to be an op-ed, then what you want isn't a movie, it's an op-ed.I think that's really interesting. And actually, let's dive into that real quick. We'll go around the horn, perhaps. Peter, you brought it up. What is an example of a film or a piece of media that maybe either subverts or goes upstream compared to your personal politics that you nevertheless enjoyed? Or you, nevertheless, in spite of where you were coming from on that, really tended to like?Peter: So we all had mixed reactions to Paul Anderson's, P.T. Anderson's One Battle After Another, which is quite a political film, just came out. All of us thought that on a micro level, scene by scene, as a piece of filmmaking, it's genius. But on a macro level, its big ideas are kind of a mess. I go back to another Paul Anderson film from the aughts, There Will Be Blood, which is fairly critical of capitalism and of the capitalist tendencies that are deeply rooted in America. And it's not just a polemic, just an op-ed. It's not something that you can sum up in a tweet. It is quite a complex film in so many ways. And I'm a capitalist. I am a libertarian. I am a markets guy. And it is, I love that movie.Sonny and I frequently have arguments over whether There Will Be Blood is the first or second best movie of the last 25 years or so. Sonny thinks it's maybe the best. I think it's the second best. This is a movie that I think offers a deep critique of my ideology and my political worldview. But it is so profound on an artistic character narrative, just deep engagement level. I could talk about it for a long time. It's a movie I really love that doesn't support what I believe about politics in the world.Yeah, Sonny, how about you?Sonny: Bernardo Bertolucci's The Last Emperor is commie agitprop, but it's also very good. It's one of those movies where the lesson of the movie is literally “The elite overclass needs to be taught how to pee correctly in a bucket, so as not to annoy the normals.” But it's a beautiful movie, including the bucket. You don't have to agree with a film's politics to recognize that it is a great movie. It certainly doesn't hurt. I flipped through my rankings, and a lot of it does line up.But another one is JFK. Oliver Stone's JFK is a movie that is nonsense as history. If you look at it as a history text, you are reading the film wrong. What it excels at and the way that it is great is that it's the absolute perfect distillation of sitting next to an insane conspiracy theorist and hearing them ramble. The way that Oliver Stone edits together all of these disparate ideas — the way he edits is like hearing a conspiracy theorist talk.The way a conspiracy theorist talks is that they overwhelm you with information. They will just throw out random things and be like, “And this is connected to this, and this is connected to this.” And you are not able to actually judge these things because you have no idea really what they're talking about. You're not steeped in this stuff like they are, but it all sounds right. And all of a sudden, yeah, I believe that the military industrial complex murdered JFK at the behest of a fascist homosexual conspiracy, which is just another amusing little element to JFK by Oliver Stone.Those would be two examples, I would say.I love that. Alyssa, how about you?Alyssa: I would say Dirty Harry. I did a huge project about 10 years ago on depictions of the police in pop culture. And the ways in which law enforcement, as an industry, has actually really shaped their depictions on film. And look, I don't think the police always get everything right. And I think that shooting people is not a viable solution to a crime, especially without a trial. But God damn, does Clint Eastwood make like a sweater and a blazer and a real big gun look awesome, right?Sonny: Those are things that look awesome. Of course, they look awesome on Clint Eastwood.Alyssa: Of course, they look awesome, but they look especially awesome on Clint Eastwood. And they look even more awesome when he's shooting a crazed hippie who has commandeered a busSonny: Full of children.Alyssa: Yes, a bus full of children. The evil hippie deserves to get shot, and Clint Eastwood is the man to set things right. The thing about aesthetics is that they can get you to set aside your politics momentarily in a theoretical way. But I also think that good movies can get you access to spaces and mindsets that you might not have access to otherwise.When you asked that question, the movie that I immediately thought of, not necessarily of challenging my politics, but like bringing me a place I can't go, is Alex Garland's Warfare from earlier this year. It is one of the best movies I've seen this year. And also a movie about (both as a social and cultural environment) an all-male combat unit in the US military and a situation (the war in Iraq) that I have no access to. I cannot go there. My being in the space would fundamentally transform the space. And that opening sequence with this platoon watching this music video in a weird, sexualized group bonding ritual, I just found fascinating and oddly touching in a way that I think is interesting to watch, especially if you're steeped in left-leaning critiques of traditional masculinity in all-male spaces.And I found that movie, despite how harrowing it was, kind of beautiful and tender to watch in a way. And I just felt very grateful for it.Awesome. Yeah, again, I really appreciate how much thought goes into viewing not only movies as cultural entities, but also their space in politics, but also how the culture can overwhelm that. I really think that you guys have such fun takes on this. I wanna back out a little bit and talk a little bit about this year and this moment. I think one thing I really enjoy about your show is that it's obvious how much you guys really enjoy going to the movies, enjoy consuming this stuff. I know that there's a lot of fairly understandable doom and gloom sometimes around the movie industry, around the exhibition industry. A lot of that, I think, comes from some of the more industry side of things and infects the viewing public's view.I'll just throw it to you. What is a trend or something going on these days within movies or Hollywood that you actually think is a good thing, that you're actually enjoying? Or a transitional moment that you think could be fun? I guess, Sunny, I'll start off with you. I don't know.Sonny: That's a hard question to answer because everything is bad right now.Alyssa: To be clear, this is Sonny's default position about all eras and all things. All things.Peter: He's a cheerful man.Sonny: All things, really. No, everything is bad. But if I were looking at a few green shoots, I like the rise of the draft house style theater, a combination of dining, bar, movie space. I know some people have issues with the waiters scurrying back and forth. And it's not my real cup of tea either, but that's all right. You mentioned this question right before we started taping. I was trying to sketch something out, so I didn't have nothing.But I do think the rise of the boutique Blu-ray and 4K UHD retailers has been a good thing. I don't know that it's enough to save physical media in the film context, but the rise of your Vinegar Syndromes. Criterion, of course, is the longest player in this space, and they've been doing it since the days of Laserdisc. They're very good at what they do, and they have a great catalog.But even smaller places, like your Vinegar Syndromes or your Shout Factory and your Scream Factory. The studios themselves are getting into it. Lionsgate has their Lionsgate limited thing that they do, which is just sucking money out of my pockets. A24 has also been good in this space. I like the idea that there is a small but committed cadre of collectors out there. And it's not just ownership for the sake of ownership. It's not the high fidelity, “the things you own matter. So you should show them off so everybody can see them and see how cool you are” kind of thing. There are actual quality differences to having a disc as opposed to a streaming service, which always come in at lower bit rates, and they look and sound worse.But this is so niche. Very few people who collect this stuff (Blu-rays, 4Ks, et cetera) really understand how niche they are.If you look at the monthly pie chart of sales of discs every month, it's still 50 percent DVD, 20 percent to 25 percent Blu-ray, and then 25 percent to 30 percent 4K, depending on what's out at any given time. But 50 percent of discs are still being bought by people browsing Walmart shelves, like “Ooh, I'll watch this new movie for $5. Sure, why not?”Yeah, having something for the sickos is always something viable, right? Peter, I'll throw it to you.Peter: So, on this podcast, I have probably been the biggest MCU, Marvel Movie Universe booster. What I think is a good thing that is happening right now is that the MCU is in a decline, or at least a reset period. It's not overwhelming Hollywood in the way that it was throughout the 2010s. It's hurting theaters and exhibition because those movies are not performing the way they used to, and that's a downside for real.But what it is doing is creating a space for young filmmakers and for young acting talent to rise up without having to immediately be sucked into the MCU or something comparable, like the DC movies that were trying to start up and never really got going. Now they've rebooted the DC universe with the James Gunn Superman film. But, it really felt like in the 2010s, anyone who was in their 20s or 30s and was a really promising actor or a really promising director was gonna make one or two movies. And then they were gonna get sucked into the Marvel or maybe the Star Wars machine, one of these big franchise things.It wasn't like even 25 years ago when Sam Raimi was making Spider-Man films, and they were very distinctly Sam Raimi films. I mean, you watch the Dr. Octopus POV sequence in Spider-Man 2, and it's the same thing he was doing in Evil Dead, except he had $150 million to make that movie, right?These weren't even altruistic superhero films. They were just being brought in to lend their names a small amount of flavor to whatever it was they were doing. And now, in an era in which the MCU is not gone, but is diminished, a lot of acting talent and a lot of directing talent are going to be free to spend that formative period of third, fourth, fifth, sixth movies to make the things that they wanna make and to experiment.Like I said, this does have downsides. This is not great for theatrical exhibitors who are suffering right now because there are fewer movies and because the big movies are not as big. But in that space, you get the opportunity to try new things. And I love seeing new things, and I love watching new talent develop.That is cool. I like that. Alyssa?Alyssa: I'm glad you said that, Peter, because what I was gonna say is I am delighted to see some of the directors who did time in the MCU or other franchises coming back and making original movies. Obviously, Sinners is one of the big success stories of the year. It's also a success story because Ryan Coogler is not only making franchise movies.I saw Seeing Fruitvale, which turned Fruitvale Station, at the Sundance Film Festival. It was like a seminal moment for me early in my career as a critic. I was like, “Holy God, this guy is great.” Even though I like what he did with the Rocky movies and I like the first Black Panther, I just felt this sense of profound regret for him getting diverted from telling these original stories. I'm really excited for Chloe Zhao's Hamnet. I expect to be emotionally incapacitated by that movie. Honestly, it is great for people who love movies that Immortals was just such a disaster.Peter: Eternals.Sonny: Eternals, that's how good it is we can't even remember the title.Alyssa: Yes, Destin Daniel Cretton is working on a Shang-Chi sequel, but he is also collaborating with Ryan Coogler on a project that I think is drawn from their childhoods.Sonny: He's directing a new Spider-Man movie right now.Alyssa: But there's other stuff coming. There's the possibility of life outside franchises. And, I'm excited to see what some of these folks do when they're not in front of a green screen and when they're telling stories about actual human beings. I am excited to just see more movies like Weapons, like Materialists, coming from younger directors who are still figuring things out, but have interesting things to say. And this year, at least, appears to be able to do okay at the box office.I love that. People are recovering from their exile in Atlanta and have a chance to make some cool movies. You guys have been so generous with your time. I do want to just finish on one last note: where do you assess Hollywood's position within the world to be?Obviously, in the States, they've had a lot of pressure from things like TikTok coming from below, things like the federal government coming from above. But even internationally and geopolitically, you've seen international players start to compete with Hollywood at the Oscars. For instance, in Best Animated Film last year, as well as some big markets shutting down for them, like China is not really doing anything. From a political perspective, where do you assess the state of Hollywood right now?Peter: From a political perspective, I think Hollywood is going to start producing movies that read less overtly liberal, less conventionally left-leaning. I think we're already seeing some of that. I don't mean that Hollywood is suddenly going to be MAGA, that it's suddenly gonna be like reading Buckley's National Review or anything like that. I just mean that at the margins, you're gonna see more movies that don't toe the line in the way that you saw movies before. There was a moment, especially right before and right after the pandemic, where it really felt like too many movies were towing a very predictable left-of-center political line. And it was obvious and there was no nuance to it.Again, I do not oppose movies that may have a different worldview than mine, but it felt like they were running scared in a lot of cases. I mean, in sports, if your team is behind, that's the time when you try new stuff. You don't use the same strategy if you are losing. Hollywood's losing right now. They're losing economically and they're losing as a cultural force. While that's in some ways not great for the art form, that is going to be good for experimentation. And that's gonna be formal and craft experimentation. That's going to be talent. We're going to see new and interesting people. And that's also going to be ideas both for stories and for politics and ideology.Sonny: A big question is what happens with the retrenchment of the global box office? Because I do think, for a long time, you could count on basically two-thirds of the box office of a major Hollywood release coming overseas and one-third coming domestically. And those numbers have, in some cases, inverted. It's closer to 50/50 for more of them. It's not universally true. F1 did more business overseas than domestically, which you might expect for something that's based on F1 racing. But the big question is what happens if the rest of the world is like, “We're not that interested in the big Hollywood blockbuster stuff that we have been eating up for the last 15 or 20 years”?This goes hand in hand with Alyssa's point about originals. That's probably a good thing, honestly. It's probably a good thing to get away from the theory of the movie industry being like, “We need to make things that appeal despite language barriers.” Language matters; words matter. And tailoring your words to the correct audience matters. American movie studio should tailor their stuff to American audiences.Alyssa: And also getting away from the idea of appealing to the Chinese censors who controlled which American movies got access to Chinese markets, which was not the same thing as appealing to Chinese audiences. But yeah, I totally agree.My father-in-law works in the foreign exchange industry, and he said something that I've been thinking about a lot. They're just seeing real declines in people who want to come here or feel comfortable coming here. Until July, I was the letters editor at The Washington Post, and it was astonishing to me just how much rage Canadians were feeling towards the United States. I don't know that these will translate into a rejection of American movies. American culture exports have been unbelievably strong for a long time.But I do see an opening for Korean pop culture, which has already been very popular abroad. I think there's a real chance that we will see a rejection of American culture in some ways. And, it will take Hollywood a while to respond to that. It always lags a little bit. But I do think it would be very interesting to see what more aggressively American movies look like. And I think that could take many forms.But scale is in many ways the enemy of interestingness. If there is not and opportunity to turn everything into a two billion dollar movie because you sell it overseas, what stories do you tell? What actors do you put on screen? What voices do you elevate? And I think the answers to those questions could be really interesting.Peter: I agree with all of this in the sense that I think it will be good for the art form, like I have been saying. But there's a cost to this that all of us should recognize. When budgets get smaller and the market shrinks, that is going to be bad for people who work in the industry. And in particular, it's going to be rough for the below-the-line talent, the people whose names you see at the end credits — when these credits now scroll for 10 minutes after a Marvel movie because they have employed hundreds, maybe even a thousand people.And there was a story in The Wall Street Journal just this summer. You mentioned the time in Atlanta about how Marvel has moved most of its production out of Atlanta. There are people there who had built lives, bought houses, had earned pretty good middle-class incomes, but weren't superstars by any means. Now they don't know what to do because they thought they were living in Hollywood East, and suddenly, Hollywood East doesn't exist anymore.We may be in a position where Hollywood West, as we have long know it, L.A., the film center, also doesn't exist anymore, at least or at least as much smaller, much less important and much less central to filmmaking than it has been for the last nearly 100 years. And again, as a critic, I like the new stuff. I often like the smaller stuff. I'm an American; I want movies made for me. But also, these are people with jobs and livelihoods, and it is going to be hard for them in many cases.Sonny: Oh, I'm glad to see the A.I. King over here take the side of the little guy who's losing out on his on his livelihood.Peter: I think A.I. is going to help the little guy. Small creators are going to have a leg up because of it.Sonny: Sure.All right. Well, I love some of those thoughts, love some of those lessons. Publicly traded companies are famously risk-taking, so we're going to be fine, definitely. Either way, I really do love the show. I really, really enjoy it. I think it's one of the best discussion shows, chat shows about any movie podcast out there. It is really, really fun. It is very cool to see you guys go independent.I just want to throw it to you a little bit. What is your pitch? What is the show? Where can they find it? What's the best way to support it? And where can they find you all?Sonny: The show's a lot like this, like what you just listened to.Alyssa: Peter has developed this catchphrase when Sonny asked him how he's doing to kick off the show, and he always says that he's excited to be talking about movies with friends. We want to be your movie friends. You should come hang out with us. Hopefully, we will be going live a little bit more, maybe meeting up in person some. I will hopefully be doing some writing for our sub stack, if you have missed my blatherings about movies and movie trends.But yeah, come hang out with us every week. We're fun.Sonny: Movieaisle.substack.com. That's where you should go. You should I'm I'm I'm sure I'm sure there will be a link to it or something. Movieaisle.substack.com is where it lives now. We'll have a proper URL at some point.Terrific. And wherever you get your podcasts?Sonny: And wherever you get your podcasts!That's great. Peter, Alyssa, Sonny, thank you so much. This is really, really fun. Again, I really dig the show so much. I'm very, very happy for you guys being able to spring out independent. So really, thanks for coming on.Edited by Crystal WangIf you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

In this Episode: Trailers for "Marty Supreme", "Anemone", "Hamnet", and the horny "Wuthering Heights" get reviewed | The guys share their top 5 movie pet peeves | Who is Billy Bob? And much more. --------------------------- Starring: Jamal Davis Alec Douglas Jonathan Garcia Produced By: Joshua Martinez Edited by: Alec Douglas --------------------------- Recorded: 09/07/2025

¡Traemos noticias como para parar un camión cisterna de seis ejes! Hablamos de la nueva serie del universo de Canción de hielo y fuego, de George R. R. Martin, El caballero de los Siete Reinos, también del thriller de ciencia ficción Mercy, de la Comic Con de NY donde se han presentado diversas series de Marvel, de la tercera temporada de Primal y la cuarta de Invincible, de la nueva serie de Vince Gilligan, Pluribus, de Hamnet, del Cluedo y mucho más. Finalmente, Francisco Javier Santiago habla de su paso por Sitges y Javier Muñoz y Daniel Rengel recomiendan películas y series tan diversas como Preguntas frecuentes sobre viajes en el tiempo, Un gran viaje atrevido y maravilloso y El Pacificador. ¡Disfruta de estas recomendaciones y no te olvides de regarlanos un voto en los Premios iVoox! Además, sorteamos un ejemplar del libro Desaparecidos en combate: ¿dónde están las estrellas del nuevo Hollywood?, de Miguel Ángel Prieto; si queréis participar es muy fácil: seguid las instrucciones que indicamos en el episodio —dejadnos un comentario en iVoox y un me gusta, además de suscribiros a nuestro pódcast en iVoox— y entraréis en el sorteo que realizaremos (solo para residentes en España). Tenéis desde el día 14 al 27 de octubre de 2025 para participar. ¡Suerte! Grupo de Telegram: https://t.me/CineActual Nuestro Patreon: https://www.patreon.com/cineactual Canciones inicial «Amanecer» y final «Ocaso» y melodía de «Cal y arena» compuestas e interpretadas por Laia Salvat, Francisco Javier Santiago y Albert Vilella, bajo licencia CC BY-NC-ND 4.0.

This week, we step into the limelight with a deep dive into London Film Festival's 2025 galas.

On episode 310 of The AwardsWatch Podcast, Associate Editor Sophia Ciminello is joined by Editor-In-Chief Erik Anderson and Executive Editor Ryan McQuade to chat about the 63rd edition of the New York Film Festival and two below-the-line Oscar categories.  First, the gang shares their overall experience at the festival before diving into quick reviews on the World Premieres of Anemone, Mr. Scorsese, and Is This Thing On? Then, they discuss the hype surrounding the electric Secret Screening of Josh Safdie's Marty Supreme. The film, starring Timothée Chalamet, Gwyneth Paltrow, and Odessa A'zion, had a tremendous response at the festival, but what does that mean for Oscar season and the movie's upcoming Christmas release? Finally, Sophia, Erik, and Ryan take a look at two major technical categories, Film Editing and Cinematography. They discuss the upcoming Cinematography shortlist, the potential for history to be made, and the possible crossover between these two categories and Best Picture. Films mentioned include One Battle After Another, Hamnet, Sinners, Sentimental Value, Frankenstein, F1: The Movie, Marty Supreme, and more.  You can listen to The AwardsWatch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music, YouTube, and more. This podcast runs 1h8m. We will be back soon with a brand new episode. Until then, let's get into it.

For Episode 461, Lauren LaMagna, Giovanni Lago, Alyssa Christian, Tom O'Brien, and I are here to talk about the end of the 2025 New York Film Festival (NYFF63), including the "secret screening" world premiere of Josh Safdie's "Marty Supreme," the Closing Night world premiere of Bradley Cooper's "Is This Thing On?." For this week's poll, for the release of "After The Hunt" this weekend, we're asking, "Which Is Your Favorite Luca Guadagnino Film?" We also reveal the winner of last week's poll, where we asked "Which Is Your Favorite Channing Tatum Performance?" for the release of "Roofman." We also share our reactions to the trailers for "Hamnet, "Die, My Love," "Father Mother Sister Brother," "Nuremberg," "Mercy," answer your fan-submitted questions, and more! Thank you all for listening, supporting, subscribing, and voting. Enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

What is This Episode? - Top of Show . UPCOMING MOVIE NEWS: Elordi, Bond Elordi?! - 4:14 Every Dude Bro Actor Will be in Heat 2 - 7:14 . AWARDS NEWS: Chase Infinity to Run as Lead Actress - 10:51 Song Sung Blue is a Comedy for Globes - 15:07 Paul Mescal Goes Supporting for Hamnet - 16:33 Diego Luna/JLo Supporting, Tanatiu Lead for Spider Woman - 17:58 (And AM Reviews Kiss of the Spider Woman) If I Had Legs... a Comedy for Globes - 22:52 . WHAT WE'RE WATCHING: AM on Anemone - 24:53 M1 on Wayward - 28:56 AM on Roofman - 30:33 AM on Bone Lake - 32:16 M1 has New Takes on Halloweens 4+5 - 34:30 AM on Steve - 35:20 M1 Stands by H20 - 37:42 AM on Ghost Trail - 38:46 AM is VERY High on Deaf President Now! - 39:51 . CONTENDER TRAILERS: Wicked for Good and Original Song Tease - 42:30 No Other Choice Trailer #2 - 44:02 Die My Love Trailer #2 - 45:53 Nuremberg Trailer #2 - 47:48 The Bride! Trailer #1 - 48:40 . . WHAT'S NEXT/LEAVE US 5 STARS/WORDS OF WISDOM - 51:03

From One Battle After Another, Jay Kelly, Hamnet, and Weapons, to Sentimental Value and If I Had Legs I'd Kick You and more, filmmakers this year can't seem to escape one theme: parents. Guilt, loss, and legacy are everywhere on screen this year. Are directors today reckoning with themselves as parents rather than with their own parents? We dive into all of it — and more. Christina is joined by film critic J. Don Birnam (@awards_predix) to unpack one of 2025's defining cinematic trends — parenting, responsibility, and what it means to parent (or be parented) in a changing world. Learn more about your ad choices. Visit megaphone.fm/adchoices

On episode 309 of The AwardsWatch Podcast, Executive Editor Ryan McQuade is joined by Editor-In-Chief Erik Anderson and Associate Editor Sophia Ciminello to give brief thoughts on The Smashing Machine, take a look at Oscar contenders at the Fall Box Office, and breakdown their thoughts on the 2026 Best Original and Best Adapted Screenplay categories. We are in the middle of the New York Film Festival (more on that next week) and at the beginning of the Mill Valley Film Festival, but festival season is in full swing as movies that premiered earlier in the year are making their way to the theaters with The Smashing Machine this weekend. The MMA-biopic vehicle to get The Rock an Oscar seems to be between a rock and a hard place after a lackluster showing at the box office and audience score. The team break down their thoughts of the film, why they think it didn't hit at the box office, as well as look at the other films releasing this weekend and circle back to the numbers for One Battle After Another. In the back half of the episode, Ryan, Erik, and Sophia take a deep look at the screenplay categories, Original and Adapted, which have become a vital category to win if a film is going to win Best Picture. Films mentioned are Sentimental Value, Sinners, Jay Kelly, One Battle After Another, Hamnet, Weapons, Train Dreams, It Was Just An Accident, and many more as possibilities that could make up the ten films that will become the nominees in March 2026. You can listen to The AwardsWatch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music, YouTube and more. This podcast runs 59m. We will be back in next week to recap and wrap up the 2025 New York Film Festival. Till then, let's get into it. Music: “Modern Fashion” from AShamaleuvmusic (intro), “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Quintin and Jack rank the best films from the Toronto International Film Festival. Where will Hamnet and Sentimental Value place? Find out now!

Ep. 350: Tim Grierson on One Battle After Another, Hamnet, Wake Up Dead Man: Knives Out 3, The Lost Bus, Hedda Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. As we look ahead to the fall with movies from Venice and Toronto set for release, I was very happy to talk about some Big Fall Films with Tim Grierson, Senior U.S. Critic for Screen Daily and a battle-tested veteran of the key festivals. But of course there was also another title that stood apart from festivals this year that we couldn't miss to talk about either: the new Paul Thomas Anderson movie. So the titles we discussed include One Battle After Another (directed by Paul Thomas Anderson, opening September 26), Hamnet (Chloe Zhao, November 27), Wake Up Dead Man: A Knives Out Mystery (Rian Johnson, November 26), Hedda (Nia DaCosta, October 22), and The Lost Bus (Paul Greengrass, out now). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Director/star James Sweeney's sophomore follow-up to Straight Up made a spalsh at Sundance this January, winning the Audience Award and a lot of buzz about Dylan O'Brien's dual roles as twins Roman and Rocky. Director and writer Bryan Fuller, whose feature debut DUST BUNNY recently premiered at TIFF, joins us to see what all the fuss is about. Then we share some of our favorite dark comedies.What's GoodAlonso - Hobnobs (and Hobnob Fever!)Drea - Competitive nonsense (windowdressing, bedmaking, etc)Bryan - a murder of yard crowsKevin - no more waspsITIDICTIFF Wraps Up, Chloe Zhao's Hamnet Wins Audience AwardParamount Wants to Buy Warner BrosRemembering Robert RedfordStaff PicksDrea - Predators (2025) (and Love and Monsters)Alonso - Chain ReactionsBryan -  The Last VikingKevin - Alien Follow us on BlueSky, Facebook, Instagram, or LetterboxdWithKevin AveryDrea ClarkAlonso DuraldeProduced by Marissa FlaxbartSr. Producer Laura Swisher

“Hamnet,” Chloé Zhao’s drama about William Shakespeare’s marriage and the death of their 11-year-old son, won the People’s Choice Award at the Toronto International Film Festival on Sunday, putting it on an enviable track to Academy Awards contention. This might’ve been the biggest headline for the festival, which celebrated its 50th anniversary this year. Joining us this morning to help round up the festivities is Claudia Puig, film critic for LAist and program director for the Santa Barbara International Film Festival, and Peter Rainer, film critic for LAist and the Christian Science Monitor. Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency!

As a new People's Choice Winner has been crowned and all the stars have left Toronto, so too has Andy returned from his pilgrimage to the festival. He and Emilio got on the line to break down everything he saw, from new films from Park Chan-Wook, Richard Linklater, and Claire Denis, to the people's choice winner HAMNET. Documentaries, undistributed musicals, Cannes prize winners, we've got a little bit of everything! Our twitter is @CannesIKickIt Our bluesky is @CannesIKickIt Our instagram is @CIKIPod Our letterboxd is CIKIPod Enjoying the show? Feel free to send a few bucks our way on Ko-fi. Thanks to Tree Related for our theme song Our hosts are @andytgerm @clatchley @imlaughalone

Hamnet wins the People's Choice Award as we wrap up our thoughts on TIFF, and we dive into the Best International Feature category amidst many new National Selections. Then we dive into a centerpiece look at the Primetime Emmy Awards, and we finish by catching up with some new movie trailers including the latest looks at Springsteen, Christy & Wicked: For Good. Our condolences to Charlie Kirk's family and our sadness at Robert Redford's passing atop the show make us grateful to have the chance to discuss happier things like awards, even if that means sad movies or series in play. Downton Abbey: The Grand Finale - 2:07 TIFF WRAP UP Hamnet wins the People's Choice Award - 4:00 Hidden Gems List: Other Well Received Films From TIFF we haven't hit yet - 9:51 Other TIFF Awards including the International People's Choice - 12:02 Best International Feature Oscar: National Selection Updates - 14:04 PRIMETIME EMMY AWARDS: Nate Bargatze as host + happiness for the Colbert moments - 21:14 The Limited SeriesETC Categories - 24:11 The Comedy Series Categories - 25:30 Drama Series surprises - 27:39 TRAILER REVIEWS: Song Sung Blue - 31:07 Wicked: For Good - 33:36 Is This Thing On? - 36:17 Wuthering Heights - 40:11 Springsteen: Deliver Me From Nowhere - 42:30 Christy - 46:51 OUTRO: Make sure to listen to our Pod Pick episode of our recent appearance on Chaz and AJ in the Morning on 99.1 WPLR on 9/15/25. Here's a link to our Fall Movies Preview + Early Oscar Buzz Segment. https://www.wplr.com/2025/09/15/pod-pick-fall-movies-to-see-or-skip/ Otherwise and as always, please rate us 5 stars, like, subscribe and review us positively if you enjoy the work we are doing. This goes a long way to helping us spread the word about our podcast. Thank you for doing so. https://linktr.ee/mikemikeandoscar

This week on the InSession Film Podcast, we discuss our most anticipated movies for the upcoming fall/winter season! Also, we have a laugh over our 1999 Retrospective blunder from last week and talk about HAMNET winning this year's TIFF prize.   - Opening Banter (0:31) - 1999 Retrospective Recap (4:35) - Hamnet Wins TIFF (20:53) - Fall Preview (45:13)   Visit https://insessionfilm.com for merch and more!   Visit this episode's sponsor: https://koffeekult.com - Get 15% OFF with the code: ISF24   Visit this episode's sponsor: Audibletrial.com/InSessionFilm - Get a FREE audiobook and 30-day FREE trial   Thanks for listening and be sure to subscribe! Become an ISF VIP today to get exclusive bonus content!   Follow us on Twitter! @InSessionFilm | @RealJDDuran | @BrendanJCassidy

This week Murtada is joined by journalist Matt Huff to discuss the films of the Toronto International Film Festival and answer some of its burning questions. Why will everyone be calling “The Testament of Ann Lee” star Amanda Seyfried “mother ?” Is John Early, the genius of silliness in “Maddie's Secret, the millennial Douglas Sirk? Why is “Hamnet” so sad and who's a “Good Boy?” Other films discussed include Oscar Isaac in “Frankenstein' and Angelina Jolie's “Couture.” Read Murtada's review of “Palestine ‘36.”Follow the show on Twitter and Instagram: @IMPictureShow.To hear more from Izzy and Murtada check them out on social media: Izzy (Twitter: @bkrewind, IG: @bk_rewind); Murtada (Twitter: @ME_Says, IG: murtada_e).See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Joe and Chris are back from the Toronto International Film Festival and it's time to unpack everything we saw. Though we recorded prior to the announcement of this year's People's Choice Award winner, we talk at length about this year's triumphant Hamnet and the word on the ground about the runners up as well. We discuss our … Continue reading "THOB does TIFF-ty"

Living in a post-Venice/Telluride/Toronto world means it's time get serious about our Oscar predictions and that's just what we're doing this week. On episode 307 of the AwardsWatch podcast, AW Editor-In-Chief Erik Anderson is joined by Executive Editor Ryan McQuade and Associate Editor Sophia Ciminello to look at what shined at the fests, what lost its luster and the introduction of a new bombshell in the villa. In our conversation, we begin with the top winners at Venice and with Alexander Payne's contentious jury, including how Jim Jarmusch's Father Mother Sister Brother could factor in and if Benny Safdie's Silver Lion Best Director win for The Smashing Machine was what that film needed. Next we move to Telluride, where Hamnet was the most-liked film (while we still await the results of Michael's Telluride Blog polls of critics and non-critics) and how the Cannes winners held their ground. Moving to Toronto and Hamnet's People's Choice Award win keeps it at as a top tier contender and we talk about some films, like 1st runner-up Frankenstein, fared better at TIFF than it did at Venice and Telluride. Then we dive into Paul Thomas Anderson's One Battle After Another, which began screening last week. While Ryan and Sophia had the film at the top of their predictions list last month, I was the idiot who rashly dropped it out of my top 10. That mistake is corrected here and we talk about the narratives at play for PTA, Chloé Zhao for Hamnet, Ryan Coogler for Sinners and Joachim Trier for Sentimental Value. You can listen to The AwardsWatch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music, YouTube and more. This podcast runs 1h37m. We will be back next week with a preview of the 2025 New York Film Festival. Till then, let's get into it. Music: “Modern Fashion” from AShamaleuvmusic (intro), “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

On episode 306 of The AwardsWatch Podcast, Executive Editor Ryan McQuade is joined by AwardsWatch Associate Editor Sophia Ciminello to break down the films, awards buzz, and wild moments they had at the 2025 Toronto International Film Festival. Packing the conversation is talk about No Other Choice, The Testament of Ann Lee, Frankenstein, Hamnet, Rental Family, The Lost Bus, Wake Up Dead Man, Hedda, The Smashing Machine and more. You can listen to The AwardsWatch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music, YouTube and more. This podcast runs 1h25m. We will be back in next week for post-TIFF Oscar predictions and a preview of the 2025 New York Film Festival. Till then, let's get into it. Music: “Modern Fashion” from AShamaleuvmusic (intro), “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

On the latest episode of IndieWire's "Screen Talk" podcast, Editor-at-Large Anne Thompson and Executive Editor Ryan Lattanzio dive into Paul Thomas Anderson's exuberant action thriller "One Battle After Another," which has screened for press and media. They praise the film as an Oscar frontrunner while also assessing the state of the race so far, up against "Hamnet" and "Sinners" for Best Picture. Anne and Ryan also recap what went down at the Venice Film Festival awards last weekend. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, Matt & Eric review Hamnet from the 50th annual Toronto International Film Festival starring Jessie Buckley and Paul Mescal.

Rebecca and John are joined by Joy Press to talk about the Venice, Telluride, and Toronto Film Festivals, where some movies soared (Hamnet) and other stumbled (After the Hunt). They also take a closer look at some of the most contested Emmys races ahead of Sunday's show. Learn about your ad choices: dovetail.prx.org/ad-choices

Paul Mescal joins Backstage's In the Envelope: The Actor's Podcast to offer a rare, candid look inside his acting process. Mescal also discusses his chemistry with Josh O'Connor in "The History of Sound," playing William Shakespeare in Chloé Zhao's "Hamnet," and what it's been like during camera tests and rehearsals for Sam Mendes' four Beatles biopics, in which he'll play Paul McCartney alongside Harris Dickinson's John Lennon, Joseph Quinn's George Harrison, and Barry Keoghan's Ringo Starr. ... Backstage has been the #1 resource for actors and talent-seekers for 60 years. In the Envelope, Backstage's podcast, features intimate, in-depth conversations with today's most noteworthy film, television, and theater actors and creators. Full of both know-how and inspiration, In the Envelope airs bi-weekly to cover everything from practical advice on navigating the industry, to how your favorite projects are made and personal stories of success and failure alike. Join host Vinnie Mancuso, senior editor at Backstage, for this guide on how to live the creative life from those who are doing it every day: https://bit.ly/2OMryWQ ... Follow Backstage and In the Envelope on social media: - https://www.facebook.com/backstage - https://www.twitter.com/backstage - https://www.twitter.com/intheenvelope - https://www.instagram.com/backstagecast Looking to get cast? Subscribe here: www.backstage.com/subscribe Browse Backstage casting listings: https://bit.ly/3mth68e Special thanks to... - Host: Vinnie Mancuso - Producer: Jamie Muffett - Social media: Karen Jenkins, Sky Silverman - Design: Andy Turnbull - Additional support: Kasey Howe, Suzy Woltmann, Jenn Zilioli

Rebecca and John are joined by Joy Press to talk about the Venice, Telluride, and Toronto Film Festivals, where some movies soared (Hamnet) and other stumbled (After the Hunt). They also take a closer look at some of the most contested Emmys races ahead of Sunday's show. Learn about your ad choices: dovetail.prx.org/ad-choices

Topics Include: 28 Years Later: The Bone Temple, Return To Silent Hill, Beast Of War, Play Dirty, A House Of Dynamite, Hedda, Wuthering Heights, Shell, Hamnet, The Woman In Cabin 10, Is This Thing On, Deathstalker, V/H/S/Halloween, and the state of the summer box office.

Telluride & Venice first reactions are finally here, and rave reviews have hit for Hamnet, Dwayne “The Rock” Johnson, The Testament of Ann Lee, Adam Sandler, No Other Choice, Julia Roberts, Springsteen: Deliver Me From Nowhere, Greta Lee, and so many more. VENICE & TELLURIDE REACTIONS (Including Reviewing the Reviewers): Jay Kelly + M1's Headline for the Episode - 2:00 . Supporting Actor Category Snapshot - 8:11 . Bugonia + Our Trailer 2 & Poster Review - 12:02 Hamnet, the Big 3 in Best Picture right now + Our Trailer Review - 16:48 . Lead Actress Category Snapshot - 23:14 . Springsteen: Deliver Me From Nowhere & M1's Born To Run Fantasy - 25:43 Ballad of a Small Player & why we're predisposed to love Colin Farrell in this - 32:09 Tuner includes a starmaking performance per NBP - 34:16 After the Hunt took a beating, but could Julia Roberts still get a nom? - 36:08 No Other Choice is great, but non-werewolf loving critics are a problem - 40:47 Frankenstein, another disappointing masterpiece from GDT (?!?!) - 45:27 Late Fame might be another Greta Lee showcase - 51:48 Father Mother Sister Brother & the ovation rule almost gets dealt with - 53:41 The Wizard of the Kremlin & ovations that don't fit the tomato score - 56:48 La Grazia, Venice's Opening Night film puts our rule to the test - 58:54 The Smashing Machine & Dwayne “The Rock” Johnson's big Venice moment - 1:00:20 . Lead Actor Category Snapshot - 1:02:51 . Supporting Actress Snapshot - 1:06:17 . The Testament of Ann Lee & suspicions re: unexpected musicals - 1:08:34 Cover-Up & a new Doc Feature contender - 1:13:43 . Holdovers from Cannes, Sundance, & Berlin including It Was Just An Accident, Sentimental Value, Train Dreams, Blue Moon, Nouvelle Vague, The History of Sound & The Secret Agent + its trailer review - 1:14:41 . Venice & Cannes Standing Ovations Tally - 1:18:45 . OUTRO: 1:20:49 Upcoming Venice & TIFF schedules + Words of Wisdom involving stopwatches that beep or not. If you enjoy our show, please help spread the word. You can rate, review, like, subscribe, and follow us via all these links here. https://linktr.ee/mikemikeandoscar

Check out our review of Darren Aronofsky's ‘Caught Stealing'. Beforehand, we'll discuss the week's top entertainment news, including the trailers for ‘Play Dirty' and ‘Hamnet'; Aaron Pierre and Amy Adams join the cast of ‘Star Wars: Starfighter'; ‘Mortal Kombat 2' gets delayed; and more! Enjoy!TIMECODES… Intro (0:00)The Toms: Entertainment News (2:11)*SPOILERS* Peacemaker S2E1 (23:53)‘Caught Stealing' Review (36:48)*SPOILERS* for ‘Caught Stealing' (45:40)What Are Ya Doin'? (59:38)SOCIAL MEDIA LINKS...Email: tomppodcast@gmail.comYouTube: https://www.youtube.com/channel/UCU2jjOm3gwTu2TVDzH_CJlwFacebook: https://www.facebook.com/That-One-Movie-Podcast-535231563653560/Twitter: https://twitter.com/TOMPPodcastPatreon: https://www.patreon.com/tomppodcastINTRO MUSIC... "Constellation" by Brian Hanegan

 It's that time of the year, when the summer sun begins to lessen, when the dog days of summer are over (thanks Florence + the Machine) and school has settled back... its the fall movie schedule.   And with that, the Fall Movie Preview of 2025! New Yorgos! New Clooney! New Baumbach! More Mark Wahlberg! Josh O'Connor keeps showing up!  Emma Stone continues to ruin her life! Lizzy Olsen in a non-Avengers movie! Stephen King adaptations! Elphaba and Glinda are back! Mikey tries to say Anemone! Rose Byrne goes for the Oscar! Springsteen gets the Dylan treatment! Disney is back! And more magic movies!  All of this, plus Dave finally pays off Dave'Stalgia, reviewing, and ranking, assigned classic movies from the 20s all the way up to the 70s!  Movies discussed The Conjuring: Last Rites Hamilton the Musical the Movie Splitsville Twinless The Baltimorons The Cut The Glassworker Looking Through Water  Love, Brooklyn Preparation for the Next Life Highest 2 Lowest Code 3 Downtown Abbey: The Grand Finale The Long Walk Spinal Tap II: The End Continues The History of Sound The Man in My Basement Rabbit Trap Tin Soldier The Threesome A Big Bold Beautiful Journey Him Another End Doin' It The Lost Bus Megadoc Steve Swiped Eleanor the Great Gabby's Dollhouse One Battle After Another Strangers: Chapter 2 All the Devils are Here The Dead of Winter All of You Play Dirty Bone Lake Good Boy Shelby Oaks The Smashing Machine Kiss of the Spider Woman Roofman Soul on Fire Tron: Ares A House of Dynamite Anemone Deathstalker Fairyland If I Had Legs I'd Kick You Urchin The Woman in Cabin 10 Vicious The Unexpecteds Ballad of a Small Player It Was Just an Accident After the Hunt Black Phone 2 Good Fortune Pets on a Train Frankenstein The Mastermind The Wilderness Mr. Scorsese Hedda The Hand that Rocks the Cradle Regretting You Springsteen: Deliver Me From Nowhere Blue Moon Anniversary Stitch Head Bugonia Hallow Road The Thing with Feathers Attack of the Killer Tomatoes: Organic Intelligence  The Carpenter's Son Nouvelle Vague Die My Love Grand Prix of Europe Predator: Badlands Sentimental Value Nuremberg Peter Hujar's Day Train Dreams Keeper Now You Three Me The Running Man Trap House Arco Jay Kelly Rebuilding David Rental Family Sisu: Road to Revenge Wicked For Good Eternity 2topia Hamnet

The 52nd Telluride Film Festival has wrapped up and that means it's time for the AW team to gather and talk about what we saw, what we heard and what it means for the rest of the fall season of festivals and films. As we began to record this podcast upon returning to our hotel in Montrose, Colorado, we thought it might be fun to record live from the lobby of the hotel. It's not a busy place, there was no one around for hours. But, as fate would intervene, as we started recording, people started filing in, talking across the room, microwave bings reverberated like sounds from a morning radio disc jockey. Add to that more than a little wine and it was a disaster not waiting to happen but happening live. We relented and headed up to one of our room's for some solitude (and to keep from laughing as much as we did) to fully give ourselves, and to our listeners, our thoughts on the films we saw and what people told us were their favorites (I'm looking at you, Hamnet). On episode 305 of the AwardsWatch podcast, AwardsWatch Editor-In-Chief Erik Anderson is joined by Executive Editor Ryan McQuade, Associate Editor Sophia Ciminello, contributor Mark Johnson and Pop Culture Confidential's Christina Birro to recall and reminisce about our time on the mountain; the things we loved, the things that surprised us and more. You can listen to The AwardsWatch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music, YouTube and more. And to everyone at the festival who told us they follow AW and listen to the podcast, we thank you from the bottom of our hearts, it means the world. This podcast runs 1h23m. We'll be back next with a recap of the Toronto International Film Festival, which kicks off on September 4. Til then, let's get into it.

The 2025 Telluride Film Festival has concluded. Unfortunately, Will Mavity had to leave early, and J Don Birnam wasn't staying with us this year, so it was just Daniel Howat and me as we take you through all of the movies we saw over the Labor Day weekend. From world premieres such as "Hamnet," "Springsteen: Deliver Me From Nowhere," "Ballad Of A Small Player," "Tuner," and "Hamlet," to Sundance and Cannes favorites such as "It Was Just An Accident," "Sentimental Value," "If I Had Legs I'd Kick You," "The Secret Agent," "All That's Left Of You," "Urchin," to Venice crossovers such as "La Grazia," "Jay Kelly," "Bugonia," "Frankenstein," to hidden gems like "The Cycle Of Love" we've got you covered. We hope you enjoy our quick recap. Thank you! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Katey reunites with her former Little Gold Men co-hosts David Canfield and Richard Lawson now that they've also wrapped up their time at Vanity Fair but remain very much in the thick of awards season. David, calling from Telluride, explains how Hamnet became such a sensation there while Richard, a veteran of the Venice Film Festival, explains why Jay Kelly may have met such a muted response there. They also indulge in a bit of nostalgia for their old podcast now that all three of them have left it— but we guarantee there are even bigger things ahead. Subscribe to Prestige Junkie After Party for the video version of this podcast.  Get tickets to Prestige Junkie Live in Toronto, with special guest Joel Edgerton! ⁠⁠⁠⁠Subscribe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to the Prestige Junkie newsletter.  Follow Katey on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow The Ankler. 

All new Pop Culture Confidential: Telluride Dispatch!What a festival! Together with each of the incredible AwardsWatch.com team, we dive into the biggest conversations at Telluride — from Hamnet, Jay Kelly, Bugonia, If I Had Legs I'd Kick You, to the Springsteen biopic

In the second installment of this summer's Little Gold Men book club series, David, Richard, and Rebecca are joined by VF's Hillary Busis to discuss Maggie O'Farrell's Hamnet, which explores grief and hope from the perspective of William Shakespeare's wife. At the end of the episode, O'Farrell herself joins David and Rebecca to talk about Chloe Zhao's movie adaptation starring Jessie Buckley and Paul Mescal. Learn about your ad choices: dovetail.prx.org/ad-choices