Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema’s greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you’ve got yourself a podcast we truly hope you love. On episode 105 of the Director Watch Podcast, the boys discuss the first film in their Paul Verhoeven series, RoboCop (1987).

Known for being one of the most provocative directors of our lifetime, Paul Verhoeven has expertly used genre to tackle strong satirical elements of our society in ways his counterparts have never been able to. From the late 1960’s to the early 1980s, the Dutch director mostly worked on films from his side of the world, slowly making his way to American productions by the end of the 80s. His first big introduction to commercial audiences was RoboCop, a futuristic examination on the power of corporations, corruption, crime, and lawlessness left unchecked by justice. Centering on a former police officer turning into the ultimate killing machine, Verhoeven delivers one of the most damning criticisms of American capitalism, as well as a signature film of the era. Ryan and Jay breakdown their thoughts on the film, their favorite lines in the movie, the over-the-top action set pieces, Murphy’s (Peter Weller) journey and his reckoning with who he has become at the hands of those who harmed him, the episodic logistics of crime shows, and why no one can make a good satire, political commentary anymore.

You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more.

This podcast runs 2h. The guys will be back next week to continue their series on the films of Paul Verhoeven with a review of his film, Total Recall. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let’s get into it.

Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

On episode 292 of The AwardsWatch Podcast, Executive Editor Ryan McQuade is joined by AwardsWatch contributor Josh Parham to review the latest film from Oscar-winning director Danny Boyle, 28 Years Later.

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 1h08m. We will be back in next week for a review of F1: The Movie, and talk about our favorite films of the year so far. Till then, let’s get into it.

Music: “Modern Fashion” from AShamaleuvmusic (intro), “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema’s greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you’ve got yourself a podcast we truly hope you love. On episode 104 of the Director Watch Podcast, the boys are joined by Editor-In-Chief of InSession Film Dave Giannini to discuss the last films in their Peter Jackson series, The Hobbit Trilogy (2012/2013/2014).

After the failure of The Lovely Bones, Jackson and company turned their attention back to a familiar place, Middle Earth. First starting as a producer, The Hobbit would find Jackson getting back in the director’s chair for the prequel to his acclaimed The Lord of the Rings series, taking over the project from Guillermo del Toro, who seemed to struggle to get his vision of the film to mash with what the studio wanted. Instead of the initial two films suggested to tell the story, Jackson set out to make another trilogy, drawing from other texts of J. R. R. Tolkien in order to expand on this smaller story, giving it a grander history to the original trilogy, as well as adding new characters and elements to the classic tale. But Jackson can’t capture the magic of The Lord of the Rings, making a messy, CGI heavy collection of films that become more and more tedious as the trilogy goes on; wasting solid performances because the story is now in the hands of a director more focused on his creative toys than making something as spectacular as the trilogy that made him a household name. Ryan, Jay, and Dave breakdown their thoughts on the films, why they look so ugly, the unnecessary love story found in The Hobbit: The Desolation of Smaug, how cool dragons are, how there aren’t five armies in The Battle of the Five Armies, why these films turn into being a chore by the time they were released, and wonder if Jackson will ever go back to making feature films. The guys also give out their rankings on the Jackson series and reveal who they will be covering for their next movie series.

You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music, YouTube and more.

This podcast runs 2h42m. The guys will be back next week to begin their series on the films of Paul Verhoeven with a review of his film, RoboCop. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let’s get into it.

Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

On episode 291 of The AwardsWatch Podcast, Executive Editor Ryan McQuade is joined by AwardsWatch contributor Karen Peterson to review the second feature film from Oscar-nominated writer-director Celine Song, Materialists.

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 1h05m. We will be back in next week for a review of the latest film from Pixar, Elio, as well as the latest from director Danny Boyle, 28 Years Later. Till then, let’s get into it.

Music: “Modern Fashion” from AShamaleuvmusic (intro), “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema’s greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you’ve got yourself a podcast we truly hope you love. On episode 103 of the Director Watch Podcast, the boys are joined by AwardsWatch contributor Karen Peterson to discuss the next film in their Peter Jackson series, The Lovely Bones (2009).

Oh how the mighty fall. By the end of the 2000s, director Peter Jackson was still riding off the high of The Lord of the Rings and King Kong, as he looked to make his next project. In finding the novel The Lovely Bones, Jackson connected with the idea of a young girl using the afterlife to process her death as well as help her family heal after said tragedy, and attempt to catch the person who killed her. Using CGI and green-screen for the in-between world and the afterlife, Jackson tried to bring together one of the most popular young-adult novels of the time, but in doing so, got distracted by his special effects and new techniques for these sequences, and instead, he created an emotionless slog of a film that was (and still is) considered by all to be a massive misstep within his career. Ryan, Jay, and Karen breakdown the film, how Jackson and his team did in adapting the novel to the big screen, the major casting shift at the center of the film, the current status of Saoirse Ronan’s career, how Stanley Tucci should never have hair in a movie, and how massive of a misstep it is from the same mind that brought us Heavenly Creatures.

You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more.

This podcast runs 2h21m. The guys will be back next week to conclude their series on the films of Peter Jackson with a review of his set of other Middle Earth films, The Hobbit trilogy. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let’s get into it.

Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Good horror films should terrify audiences with memorable monsters and eerie effects, but great horror will also fearlessly tackle timely issues with complex characters and impactful resolve. This is exactly what Tina Romero does in her feature debut, “Queens of the Dead,” with her talented team of collaborators. Though she never expected to make a movie about zombies, the title makes for a beautiful nod to her dad, George, aka the “Father of the Zombie Film” or “Godfather of the Dead,” while still remaining true to herself. Which, as a talented multi-hyphenate, allowed her to imbue the film with even more soul and called back to her early days as a DJ. She speaks to the collective energy music fosters, how her DJ name added another layer to the film’s setting, and how Kesha became the ideal voice for a queer-coded apocalyptic battle cry.  

Romero joined me for a lively, revealing interview along with producer Natalie Metzger and actors Tomás Matos (Fire Island, Fantasmas) and Julie J before the film’s premiere at the Tribeca Film Festival. They all expressed their overwhelming excitement for working on a project that was as unapologetically queer and richly imagined, and were quick to hype up their sensational co-stars, including: Katy O’Brian, Jaquel Spivey, Riki Lindhome, Margaret Cho, Quincy Dunn-Baker, Jack Haven, Nina West, Dominique Jackson, and Cheyenne Jackson. Furthermore, they credit the makeup designer Christina Grant, hair department head Mitchell Beck, and costume designer David Tabbert for creating unforgettable looks that quite literally slay the house down boots. 

The effortless rapport in the following recording and seen on-screen is a direct result of the entire team cultivating a sense of community and tolerance. Attacks against the LGBTQ+ community continue every day and this film is a testament that having an open dialogue and fighting back with kindness and honesty is the only way to achieve a brighter, more accepting future.

On episode 290 of The AwardsWatch Podcast, Executive Editor Ryan McQuade is joined by Editor-In-Chief Erik Anderson, Associate Editor Sophia Ciminello, AwardsWatch contributor Mark Johnson, and special guest Kevin Jacobsen, Entertainment Weekly Content Update Editor and host of the And the Runner Up Is podcast, for part two of their Best Actress Tier Rankings.

In the second part of the Best Actress tier rankings (listen to Part 1 here), the team return to the scene of the crime from last week to rank the remaining 49 Oscar winning performances, and discuss where they place them in their all-ranking. In trying to place these winners in the correct spot, the team had to come together and decide on whether to place these performances in the S (all-time winner), A, B, C, D, or F tier and explain the ranking. For the first time in the tier ranking episodes, the performances have been randomized, making the show even more unpredictable as to who will be covered from the list of winners on this episode. Also, the team has instituted two rules that include only 15 winners being able to be in the “S tier” and if an actress has multiple wins, only one of their wins can make it into the 15. Some of the winners ranked on this week’s episode are Claudette Colbert for It Happened One Night, Nicole Kidman for The Hours, Meryl Streep for Sophie’s Choice, Julia Roberts for Erin Brockovich, Jodie Foster for The Silence of the Lambs, Diane Keaton for Annie Hall, Faye Dunaway for Network, Michelle Yeoh for Everything Everywhere All at Once, our most recent winner Mikey Madison, Anora, and many more. By the end of the episode, some of the wildest takes of the episode start coming out, so you will want to listen all the way to the end to hear them; it’s lot of fun.

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 4h18m. We will be back in next week reviews of Materialists and The Phoenician Scheme. Till then, let’s get into it.

Music: “Modern Fashion” from AShamaleuvmusic (intro), “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema’s greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you’ve got yourself a podcast we truly hope you love. On episode 102 of the Director Watch Podcast, the boys are joined by the Head of Content for The Ringer and co-host of The Big Picture podcast Sean Fennessey to discuss the next film in their Peter Jackson series, King Kong (2005).

After making one of the most successful trilogies of all time, winning dozens of Oscars, making billions of dollars at the box office, and defying all odds due to the inadaptability of the source material, Peter Jackson was on top of the cinematic world. Following up The Lord of the Rings was going to be no small task, but the director had essentially created an opportunity that very few artists get to have in a career; he earned a blank check to make whatever he wanted. In doing this, he came back to a project he had been trying to make years before his work in Middle Earth; a remake of one of the most iconic films in the history of cinema, King Kong. In making a direct remake of the 1939 classic, Jackson was able to recreate and expand a film that changed his life when he first saw it as a child in a local theater with his mother. But in doing so, he made a heavily CGI'd spectacle filled with dinosaurs that bogs down the emotional, fantastical elements at the core of the original story, and an effort that showed the problematic signs of what happens when total creative control is handed to those that need a little bit of a guiding hand. Ryan, Jay, and Sean breakdown their thoughts on the film, the other versions of King Kong, the career of Naomi Watts, how Jack Black is still a giant movie star, Adrian Brody’s Oscar speech, why no one can make a good dinosaur film outside the first Jurassic Park, why this movie didn’t work, why Sean picked this film to come on and talk about, and how nice a guy David Cronenberg seems.

You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music, YouTube and more.

This podcast runs 1h43m. The guys will be back next week to continue their series on the films of Peter Jackson with a review of his next film, The Lovely Bones. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let’s get into it.

Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

On episode 289 of The AwardsWatch Podcast, Executive Editor Ryan McQuade is joined by Editor-In-Chief Erik Anderson, Associate Editor Sophia Ciminello, AwardsWatch contributor Mark Johnson, and special guest Kevin Jacobsen, Entertainment Weekly Content Update Editor and host of the And the Runner Up Is podcast. Fasten your seatbelts, it's going to be a bumpy night.

While everyone is settling into the summer blockbuster season and recovering from the Cannes Film Festival from the month of May, the AW team turn to the month of June by going back to a favorite exercise from last year, an extensive tier ranking of an Oscar category. After doing Best Director last year, the team moves the most popular category the Oscars has for the team; Best Actress and its 98 winners. In trying to place these winners in the correct spot, the team had to come together and decide on whether to place these performances in the S (all-time winner), A, B, C, D, or F tier and explain the ranking.

Only 49 of the winners are discussed on this episode, including Vivien Leigh in Gone with the Wind, Liza Minnelli in Cabaret, Jessica Chastain in The Eyes of Tammy Faye, Judy Holliday in Born Yesterday, Elizabeth Taylor in Who’s Afraid of Virginia Woolf?, Marion Cotillard in La Vie en Rose, Loretta Young in The Farmer’s Daughter and Sally Field in Norma Rae, with the rest covered next week. For the first time in the tier ranking episodes, the performances have been randomized, making the show even more unpredictable as to who will be covered from the list of winners on this episode. Also, the team has instituted two rules that include only 15 winners being able to be in the “S tier” and if an actress has multiple wins, only one of their wins can make it into the 15. It adds a fun wrinkle for the team to try and figure out when they get to their final rankings. It may only be part one, but it’s a great episode and we hope you all enjoy it and listen next week to part two.

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 3h58m. We will be back in next week for part 2 of our Best Actress tier ranking episode. Till then, let’s get into it.

Music: “Modern Fashion” from AShamaleuvmusic (intro), “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).