Best Picture This

Duality. Facades! Identity!? It's all underneath the microscope in director Ingmar Bergman's "Persona" (1966), which ranked No. 18 on the BFI's Greatest Films of All Time Sight and Sound poll.

In this episode, Mike and Brian dive into the subconscious to explore the links between authenticity and art, desire and security, intimacy and acting, secrets and the Self. They gush over the film's black-and-white cinematography, discuss how horror stylings work to guide viewer expectations, then debate what's "real" in "Persona," and how much literal truth even matters in movies obsessed with intuition and the fine lines that divide competing forces within ourselves.

Ranked No. 31 on the British Film Institute's Greatest Films of All Time poll is director Federico Fellini's surrealist meta-project "8 1/2" (1963). 

To really do the movie's vision justice, Mike and Brian intended to podcast about podcasting for a straight hour, but their producer (the illustrious Marc Gilliland) wouldn't allow it. Instead, the two discuss why we're drawn to movies about movies and the creative process, talk the power of images to fill logical gaps in the subconscious and explore what it means to make "authentic" and "important" art.

Coming in at No. 1 on the British Film Institute's recently released Greatest Films of All Time poll was "Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles" (1975), directed by Chantal Ackerman.

Never seen the film? You're not alone. Its placement at the top of the charts was a surprise to many, which made it the perfect place for Mike and Brian to kick off their international cinema blindspotting miniseries.

In this episode, they discuss whether or not mundanity can be a form of awakening and what tedium teaches us about marginalized groups; they debate the film's style and ending; talk agency vs. victimhood; then dig into where "Jeanne Dielman" might palce in their own "greatest films of all time" lists. 

Mike and Brian are celebrating the new year with a fresh new show format!

In this episode, they discuss movie blindspots and introduce the miniseries to come, review the British Film Institute's Sight & Sound Top 100 list, discuss their own personal all-time top fives then hold a very formal ceremony honoring the first official inductees to gain entry into the rarefied air that is BPTGIE (Best Picture This Good in Everything) status. 

What's your favorite movie of the aughts? What's the best movie? Are they the same film -- if so, why not?

In this special bonus episode, Mike and Brian recap their 10-year journey through the films of 2000 through 2009; discuss what the decade taught them about art, the Oscars and what they value most about movies; and then they rank their top five films of the 2000s.

What was the best movie of 2009?

The Academy awarded that title to Kathryn Bigelow's "The Hurt Locker," but in this series finale episode, Mike and Brian recap the year in film to rerank the Best Picture nominees, highlight standout films that didn't garner Oscar attention and choose their personal top-fives.

It's not enough to edcuate us anymore, Academy. You have to tell us why you're doing it!

Jeff Bridges and Colin Farrell as country music icons?! Where do we sign?

In this episode, Mike and Brian dive into director Scott Cooper's "Crazy Heart," an intimate character study of an aging and down-on-his-luck musician (Bridges, who won the Oscar for Best Actor). The film owes a lot to Darren Aronofsky's "The Wrestler," and Mike and Brian parse out those comparisons. They talk "fake" biopics, the complicated world of happy endings, how original music compares to the ultra-famous songs that frame out films about real-life legends like Ray Charles and Johnny Cash, then decide whether or not this movie will make their top fives of 2009.

Director James Cameron blew the budget on 2009's "Avatar," betting that film's ambitious visual spectacle would equate to big box office rewards. He was right, as the film went on to not only become the most profitable blockbuster of all time, but also earn nine Oscar nods, including a win for Best Visual Effects and a nomination for Best Picture.

In this episode, Mike and Brian discuss the technical and narrative devices that contributed to the film's success and whether or not those tools hold up 13 years later. They explore the need for depth in movies designed to be experienced like theme park rides, the setpieces that stuck with them most and whether the movie is worthy of making their top-five lists of the year.

Through its obsession with pop culture, director Marc Webb's "(500) Days of Summer" is as much about romcoms as it is a romcom itself, full of stylistic flourishes, "Annie Hall"-like experimentation and non-linear structuring gimmicks.

There's no such thing as an uninteresting Coen brothers' movie, and 2009's Best Picture-nominated "A Serious Man" continues that tradition, offering plenty of philosophical meat to chew on through its exploration of faith and meaning.

In this episode, Mike and Brian return to their conversation about nihilism's place in the Coen brothers' worldview, they talk fables, causality vs. randomness, bleakness as black comedy, and the role of absurdity in the Coens' work, before deciding whether or not this film will make their top fives of the year.

Colin Firth was nominated in the Best Actor category in 2009 for "A Single Man," tallying the film's one and only Academy Award nod. In addition to Firth's performance, however, the film is a visual feast, full of impeccable costuming, set design and a color palette that, sometimes literally, radiates. 

The attention to visuals makes sense, given director Tom Ford's history as a fashion designer, but it also begs the question: Is there more to "A Single Man" than its glossy finishes?

In this episode, Mike and Brian talk style and whether or not Ford's eye for it here adds to the substance of "A Single Man;" they gush over Julianne Moore (and bestow a great honor upon her); dig deep into the movie's ending; and finally, decide whether or not this film will make their top fives of the year.

Oprah and Tyler Perry were among the executive producers behind "Precious: Based on the Novel 'Push' By Sapphire," which helped the Lee Daniels-directed film draw in big-name talent from the Black music scene -- such as Mo'Nique, Mariah Carey and Lenny Kravitz. The movie went on to earn several Oscar nominations in 2009, including one for Best Picture, as well as a couple of Academy Award wins (for Best Adapted Screenplay and Best Supporting Actress).

In this episode, Mike and Brian dig deeper into the world of "Precious," exploring what the film's choice to feature so many Black musicians does for its story; they talk highs and lows; discuss how a rewatch heightens or diminishes the film's emotional power; and finally, whether or not this film will make their top fives of the year.

The first Best Picture winner to be directed by a woman, Kathryn Bigelow's "The Hurt Locker" electrified critics in 2009, even while drawing lukewarm box office numbers. 

In this episode, Mike and Brian explore the film's thesis that "war is a drug" and discuss the ways in which addiction can change characters and character arcs. They talk about the movie's poor audience turnout, Jeremy Renner as a leading man, how politics and timeliness affect Oscar voting and, finally, whether or not this film will make their top fives of the year.

Quentin Tarantino earned his first Best Picture Oscar nomination for 2009's "Inglorious Basterds," a bloody, revisionist take on World War II, starring Brad Pitt, Christoph Waltz and Mélanie Laurent. It's not the typical type of film recognized by the Academy Awards, which begs the question: Did it deserve serious consideration as the top film of the year, or was it a beneficiary of the recent expansion of the Best Picture category from five to 10 nominees?

In this episode, Mike and Brian explore the importance of historical accuracy and what's gained by revising the facts; they talk violence and catharsis; movies as mythmakers; the power of nicknames and, finally, whether or not this title will make their top fives of the year.

Only three animated movies have ever been nominated for Best Picture, and one of them was Pixar's "Up," released in 2009, which placed it in rarefied air as one of the Greatest Animated Movies Ever. But was "Up" even the best animated movie of the year it released?

In this episode, Mike and Brian talk stop-motion and how the technique affects story, creepy "kids' movies," how director Henry Selick's "Coraline" stacks up to other horror films released that year, and whether or not it will earn a spot in their personal top fives of 2009.

Pixar's "Up," released in 2009 to a box office gross of over $735,000, was one of only three animated movies of all time nominated in the Academy Awards' Best Picture category. That must mean it's an automatic top-five film of the year ... right?

In this episode, Mike and Brian talk talking dogs, grumpy old men and sad moments framed by colorful balloons. They break down their expectations for animated films, then decide whether to keep or kick this one, directed by Pete Docter, from its Oscar pedestal.

Welcome to the world of South African sci-fi! 

Director Neil Blomkamp's debut feature, "District 9" -- a splattery, actiony genre film backed by Peter Jackson -- was one of the more obvious beneficiaries of the Oscars expanding the Best Picture race to 10 nominees in 2009. But how does it hold up today?

In this episode, Mike and Brian talk body horror, sci-fi allegories, Sharlto Copley's breakout performance, the art of alien character design and, finally, whether or not this film will earn a spot in their personal top 10s of the year.

Director Jason Reitman tallied his second Best Picture nomination in a row in 2009, following his first nomination for "Juno" (2007), with the George Clooney Great Recession dramedy "Up in the Air," which earned a total of six Oscar nominations -- one for each of its top-billed stars (including Vera Farmiga and Anna Kendrick), as well as two more for Best Directing and Best Adapted Screenplay. 

But how does the film hold up 13 years removed from the economic crisis that underscores so much of its anxieties concerning material posessions and best laid plans?

In this episode, Mike and Brian dive deep into how cultural relevance affects how the Academy judges films, they talk about the ways that Reitman plays with romcom and coming-of-age tropes to say something new, discuss if it's possible for a film to be a tragedy if people leave the theater feeling happy and, finally, play keep it or kick it. 

What was the best movie of 2008?

The Academy awarded that title to Danny Boyle's "Slumdog Millionaire," but in this series finale episode, Mike and Brian recap the year in film to rerank the Best Picture nominees, highlight standout films that didn't garner Oscar attention and choose their personal top-fives.

Director Danny Boyle's "Slumdog Millionaire" mopped the floor with 2008, sweeping the Oscars with eight wins and making nearly $380 million worldwide. Not bad for a budget of just $15 million.

In this episode, Mike and Brian discuss the film's diverse cinematography, the power of fairy tales, how and why some movies' reputations change over time and, finally, whether or not "Slumdog" is an easy keep or kick in their top fives of the year.

Kate Winslet starred in two Oscar contenders in 2008 (the other opposite Leonardo DiCaprio in Sam Mendes's "Revolutionary Road"), but she won Best Actress for her portrayal of an illiterate Nazi in the Best Picture-nominated "The Reader," which grapples with guilt, our relationship to the past and the nature of evil. Yes, it is, as critic Amy Nicholson called it, a "Serious Film" (capital S, capital F). 

In this episode, Mike and Brian discuss the tradition of "Hollocaust movies," talk intellectual vs. emotional engagement and decide whether or not director Stephen Daldry's film will earn a spot in their top fives of the year.

The Marvel Cinematic Universe kicked off with director Jon Favreau's "Iron Man," starring Robert Downey Jr. Maybe the most fascinating thing about this movie, though, is how, compared to the dozens of MCU films that would come to follow it, this one, with its narrow scope and human stakes, almost feels quaint.

In this episode, Mike and Brian talk character arcs, exciting vs. boring kinds of conflict, the MIlitary-Industrial Complex and what Tony Stark and Bruce Wayne (circa "The Dark Knight") have in common. 

Two greats, Meryl Streep and Philip Seymour Hoffman, go head-to-head in writer-director John Patrick Shanley's "Doubt," which took home a loot of Best Actor noms in 2008 but was snubbed for Best Picture.

In this episode, Mike and Brian explore the power of ambiguity, talk dramatic stakes, character depth, what makes a supporting actor turn award-worthy and, finally, whether to keep or kick this title from their top fives of the year.

Sean Penn took home Best Actor gold for his portrayal of Harvey Milk in Gus Van Sant's Best Picture-nominated MILK, which earnd eight Oscars overall, winning two (the other for Best Screenplay). But how does this biopic hold up 14 years later?

In this episode, Mike and Brian discuss the importance of learning something from a historical drama, they question when characterization crosses over into idolatry, talk trivia and then decide if this film will be kept or kicked from their top fives of the year.

This city deserves a better class of podcast, and we're gonna give it to them!

In this episode, Mike and Brian trade in their hockey pants for body armor to revisit director Christopher Nolan's "The Dark Knight," which made over $1 billion at the box office and just might be the best comic book movie ever made. ... Or is it? 

To answer that question, they explore the ripple effects of heroism, what gives heroes like Bruce Wayne/Batman the right to fight crime, how the ethical questions surrounding the war on terror influenced movies like this and Marvel's "Iron Man," and if visceral "cool" is enough to excuse weak thematic threads.

Director Ron Howard's Best Picture-nominated "Frost/Nixon" is about two guys just ... talking. But can two people talking really be that exciting? (As podcasts hosts, we certainly hope so!)

In this episode, Mike and Brian verbal spar about verbal sparring, they do bad Richard Nixon impersonations, explore the line between historical fact and fiction, and decide whether to keep or kick this title from their top fives of 2008.

Mickey Rourke's return to stardom (you know -- the "Rourkessaince") began with him playing the title role in director Darren Aronofsky's "The Wrestler," also starring Marisa Tomei. But this feature marked a major turning point for Aronofsky, as well -- away from the big, showy spectacles of his two prior releases ("Requiem for a Dream" and "The Fountain") and demonstrating that he can also do intimate and self-contained. 

In this episode, Mike and Brian talk understated masterclass moments and stylistic shifts, they debate if the ending of "The Wrestler" hinges on hope or irony, play Keep It or Kick It and more.

Guess how much money Best Picture nominee "The Curious Case of Benjamin Button" made at the box office when it released in 2008. 

Whatever you guessed, go higher! This thing raked in over $335 million, more than doubling its hefty $150M budget. That's called critical and commercial darling, ladies and gentlemen. 

But how does this crowd-pleaser, starring Brad Pitt, Cate Blanchett and Tilda Swinton, hold up 14 years later? 

Mike and Brian get into it in an episode that kicks off their series on the films of 2008. They talk director David Fincher, debate what makes a good fable, argue whether "Benny Butts" is full of wisdom or empty platitudes then play Keep It or Kick It.

What was the best movie of 2007?

The Academy awarded that title to the Joel and Ethan Coen's "No Country for Old Men," but in this series finale episode, Mike and Brian wade through the many (many) titles that made this an all-time great year for film to re-evaluate if that selection holds up. They recap the year that was, rank the nominees for Best Picture, kick the ones that don't belong and discuss their personal top fives.

The Coen brothers' "No Country for Old Men" beat out Paul Thomas Anderson's "There Will Be Blood" for the Best Picture Oscar of 2007. How do the two movies compare and differ? And what does a shift in how you remember a movie compared to how you experience it on rewatch say about the film itself?

In this episode, Mike and Brian dig into all those questions, exploring the art behind creating an iconic villain and the power of film scoring (and the lack thereof). They argue over the movie's philosophical leanings and challenge how the Coens use genre to lend a light touch to heavy material. Then, keep it or kick it (AKA: "Is this a contender for your film of the year?").

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Mike and Brian ditch the script this week to dive into not one, not two but three (OK, more like 10 ... ish) titles from 2007 that they love. 

• First, "Bug," an ultra-low-budget horror from director William Friedkin ("The Exorcist," "The French Connection"), starring Ashley Judd and Michael Shannon
• Next, "Away from Her," the beautifully sad Alzheimer's love drama (and directorial debut) from Sarah Polley
• Third: director Andrew Dominik's "The Assassination of Jesse James by the Coward Robert Ford." Brad Pitt! Casey Affleck! Roger Deakins!

Then, so many. "REC." Quentin Tarantino and Robert Rodriguez's "Grindhouse." Edgar Wright's "Hot Fuzz." Did you know Philip Seymour Hoffman was in three movies this year? Oh, and Judd Apatow released "Knocked Up" and "Superbad" within two months of each other! Insane year. Listen up!

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Horror movies changed after director Oren Peli's "Paranormal Activity" hit the festival circuit in 2007. Suddently, found-footage was king, which is easy to understand, considering Peli's film was shot for just $15,000 then went on to make over $193 million at the box office.

In this episode, Mike and Brian talk creaky house sounds, ominous footsteps, the Wife Test, and the effect of a movie being so ubiquitous that many viewers see the parodies before the real thing. Then, they decide whether or not this film deserves a place in their top fives of the year.

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Sensory spectacle -- bravura editing, Old Hollywood glamour, inventive scoring -- works as the foundation of director Joe Wright's "Atonement," which stars James McAvoy, Keira Knightley and Keira Knightley's silken green dress.

In this episode, Mike and Brian explore the line separating "showy" from substantive high style, they talk metafiction, melodrama, misunderstandings and when those things intersect in this film to deliver powerful emotional moments. Then, they decide whether or not this film deserves a place in their top fives of the year.

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Director Paul Thomas Anderson's "There Will Be Blood" lost the Best Picture Oscar to "No Country for Old Men" in 2007, but its legend has only grown since its release, and now it's easy to find the title topping critics' best-of-the-decade lists. Why?

In this episode, Mike and Brian talk antiheroes and Daniel Day-Lewis' iconic performance as Daniel Plainview, they gush over the movie's unsettling score, wrestle with its themes of greed, capitalism and religion, and discuss what makes a movie a "grower." Then, as always, keep it or kick it.

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Before "The Walking Dead," director Frank Darabont took an unconventional route into the horror genre by turning two of Stephen King's more feel-good stories ("The Shawshank Redemption" and "The Green Mile") into uber-successful films. After that, he was ready to go dark -- which is exactly what he did with his third King adaption, this one based off of the supernatural novella "The Mist."

In this episode, Mike and Brian talk hopelessness, special effects and how they age, camp, God's wrath, the art of dialogue-less scenes, and if "The Mist" deserves a spot in the top five of 2007.

Director Jason Reitman teamed with first-time screenwriter Diablo Cody to release one of 2007's most surprising smash hits: "Juno," starring Elliot Page, Michael Cera, Jason Batemon, Jennifer Garner, J.K. Simmons and (breath) Allison Janney.

In this episode, Mike and Brian talk iconic characters, when "quirkiness" became cool, what makes a film a "message movie" and if "Juno" fits that bill and, finally, if this indie darling deserves a place in the top five of 2007.

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Mike and Brian celebrate their 100th episode by kicking off a brand new miniseries -- this time on the films of 2007! 

First up: the momentum- and mood-forward "Michael Clayton," a Best Picture-nominated corporate thriller starring George Clooney, Tom Wilkinson and Tilda Swinton. 

In this centennial episode, Mike and Brian discuss the Oscars' ongoing evolution, screenplays that challenge the viewer to keep up with them, George Clooney's particular brand of controlled cool, and whether or not "Michael Clayton" is a legitimate contender for their top fives of 2007.

What was the best movie of 2006?

The Academy awarded that title to director Martin Scorsese's "The Departed," but in this series finale episode, Mike and Brian shake things up. They recap the year that was, rank the nominees for Best Picture, kick the ones that don't belong and discuss their personal top fives. 

Released in between "Batman Begins" and "The Dark Knight," "The Prestige" stands out as a bold, personal choice for director Christopher Nolan.

In this episode, Mike and Brian talk about Nolan's obsession with obsession, magic as a standin for cinema, the all-consuming power of creativity and if Nolan's film about magic and magicians deserves a place in the top five of 2006.

Is "The Departed" Martin Scorsese's best movie? 

It's the only one of his films that has won Best Picture at the Oscars, and the only one for which he's won for Best Directing. So it's gotta be his best! ... Right?

In this episode, Mike and Brian put on bad Bostonian accents to talk identity, machismo, pulpy genre, love triangles, self-seriousness as humor, corruption, organized religion, over-the-top performances and rats ... oh, so many rats. Then they decide if "The Departed" really does belong in the top five of 2006, or if the Academy (gasp!) got it wrong.

Director Clint Eastwood released two films in 2006, both about a pivotal battle in World War II -- except, one movie ("Flags of Our Fathers") was told from the American perspective, while the other ("Letters from Iwo Jima") explored the Japanese experience.

In this episode, Mike and Brian discuss what analyzing the two movies through the scope of the multi-film project brings to the experience, which packs a more powerful punch and, what telling a story from a foreign perspective adds to the narrative. Then they decide whether or not to include either title in their top five of the year.

Director Alfonso Cuaron's "Children of Men," starring Clive Owen, Julianne Moore and Michael Caine, is full of stunning action sequences shot entirely in long takes.

But is the movie more than visual spectacle?

In this episode, Mike and Brian talk technical achievements in cinematography, biblical and prog rock allusions, and trivia, before deciding if this film belongs in the top five of 2006.

Nominated for Best Picture and winner of Best Screenplay of 2006, "Little Miss Sunshine," directed by Jonathan Dayton and Valerie Faris, was a surprise smash hit, both critically and commercially.

But has its charm worn off in the 16 years since its release?

In this episode, Mike and Brian talk screenwriting "tricks," the power of an ensemble cast and what qualities give a comedy "weight," before deciding whether or not this film belongs in the top five of the year.

Is "Pan's Labyrinth" director Guillermo del Toro's best movie?

In the years since its release in 2006, the Academy has embraced this director, awarding him Best Picture for "The Shape of Water" (2017) and nominating his "Nightmare Alley" in 2021. Although "Pan's" was only recognized with awards for its visuals (cinematography, art, makeup), the beauty here goes deeper than surface level.

In this episode, Mike and Brian discuss the movie's relationship with storytelling as a force for both creation and destruction, talk horror, trivia, then decide if the film belongs in the top five of the year.

In this episode, Mike and Brian argue over whether or not that risk paid off; they talk expectations vs. reality, as well as the role marketing plays in molding a movie's identity. Then, they decide if "Click" belongs in the top five of 2006.