In the final episode of the season, Matt and Marisa dive into a wildly uneven year. In the Best Picture category, they discuss the bizarre tonal shifts in Prizzi's Honor, how Spielberg's The Color Purple compares to the recent musical adaptation and go feral over Witness.
This week, Matt and Marisa go back to just after WWII ended. In the episode, they discuss why The Best Years of Our Lives is considered one of the greatest Best Picture winners, the bittersweet romance of Brief Encounter, the incredible production design in Henry V and a hilarious, ingenue-esque reveal in The Yearling.
This week, Matt and Marisa dive into some of the most iconic performances of the '90s. From one of the greatest comedic performances of all time to one of Jack Nicholson's best late career supporting turns, it's a feast in the acting categories. Elsewhere, they chat about forcing their friends to watch Unforgiven with them and the role Michelle Pfeiffer should have been nominated for.
In their latest episode, Matt and Marisa discuss one of the most controversial and least-loved Best Picture winners: Around the World in 80 Days. Elsewhere, they discuss the towering achievement that is Giant (and Elizabeth Taylor's underappreciated performance in it) and the issues with The Ten Commandments' last act.
Matt and Marisa return to more modern times with some late '70s heavy-hitters. In the episode, they talk about each of their parents' unique connections to The Deer Hunter, how poorly Midnight Express has aged and the surprise of An Unmarried Woman.
Our season continues with one of the Academy's dual-year eligibility windows. Join Matt and Marisa as they try to decide if it's possible for modern audiences to find Maurice Chevalier charming, marvel at Miriam Hopkins and the consequences of smoking the wrong cigarette.
This week, Matt and Marisa go back in time to 1968. Tune in to hear them talk about everything they learned from Barbra Streisand's incredible memoir, thirst over Oliver Reed and each give their line readings of Ingrid Bergman's Best Actress presentation.
Matt and Marisa kick of the 5th season with a more recent year, 2012. In the episode, they talk about Jennifer Lawrence at the height of her powers, the aural torture chamber that is Les Miserables and the Best Director snub that defined the race for Best Picture.
Matt and Marisa end the season with an all-timer year: 1975. Though they're disappointed by Best Picture winner, One Flew Over the Cuckoo's Nest, they discuss fellow heavy-hitters like Robert Altman's Nashville and the blockbuster that started it all, Jaws.
Matt and Marisa return for the penultimate episode of the season to discuss what might be one of their best years yet, 1957. They scream over Peyton Place's twists, delight in the unexpected comedy of Witness for the Prosecution and marvel at just how good Best Picture winner, Bridge on the River Kwai, is.
This week, Matt, Marisa and guest Ben Murchison discuss the first year the Academy reinstated 10 Best Picture nominees, 2009. They talk about the surprise staying power of The Hurt Locker, their love for A Serious Man and remember what it was like when there was only one Avatar movie.
It's Christmas in June this week as Matt and Marisa discuss two holiday classics that also just happen to have been nominated for Best Picture: The Bishop's Wife and Miracle on 34th Street. They also lament how poorly the year's big winner, Gentleman's Agreement, has aged, watch some cartoons and praise the original Nightmare Alley adaptation.
This week, Matt and Marisa return to talk about one of Matt's favorite movies, Best Picture winner, Amadeus. Elsewhere in the episode, they marvel at how well The Karate Kid holds up, disagree on Jonathan Demme's Swing Shift and deep dive into the Best Song Score category.
This week, Matt and Marisa go back in time to discuss the 4th Oscars ceremony. In the episode, they wrestle with how Best Picture winner, Cimmaron, has aged, beg for a restored version of East Lynne and endure the trial that is Skippy.
Season 4 continues with a trip to the early '90s, when Steven Spielberg's heart-wrenching Schindler's List won Best Picture. Elsewhere in the episode, they discuss Angela Bassett's first Best Actress nomination for What's Love Got to Do with It, Rosie Perez's star turn in Fearless and bring up some all-time favorites in the For Your Consideration segment.
Matt and Marisa finally return with the long-awaited 4th season of And the Winner Still Is. This episode, they cover 1960, when The Apartment snatched the award for Best Picture. Elsewhere in the episode, they discuss Elizabeth Taylor's infamous win for BUtterfield 8, the culture-shifting influence of Alfred Hitchcock's Psycho and, as always, go to bat for a few underappreciated gems.
In the season finale, Matt and Marisa flash back two decades to the year 2000 to talk about a controversial Best Picture winner they still love, Gladiator. Elsewhere in the episode, they praise Julia Roberts's movie star performance in Erin Brockovich and cringe at how poorly Steven Soderbergh's other film that year, Traffic, has aged.
Matt and Marisa return to talk about the year Frank Capra's You Can't Take It With You won Best Picture. In the episode, Marisa once again fawns over Jean Arthur and Matt marvels at the wild ride that is Four Daughters.
The season continues with the year West Side Story won Best Picture: 1961. Matt and Marisa discuss arguably one of the greatest musicals of all time from the dancing to the cinematography as well as the other films nominated.
Matt and Marisa return to discuss the 1945 Oscars, when The Lost Weekend won Best Picture. They marvel at how well the film's depiction of addiction has aged before moving on to talk about some of their personal favorite films like Mildred Pierce and Leave Her to Heaven.